Armory no defence for flagging art market.

10 03 2009

In years gone by, the New York Armory (sic. I know, I know. It’s American. It kills me when I have to leave the ‘u’ out) Show has been the focus of feverish and often irrational activity on the part of collectors clamouring to scoop up works of art by the bestest, brightest, hottest, newest contemporary art überstars.

Allow me to teleport you back to the golden years – a fascinating article published in the New York Magazine by Marc Spiegler in 2006 captures the hype and herd behaviour that characterised the Armory Show back when collectors had seemingly limitless grab-bags of discretionary cash to fling around.

But now? Not so much. The 2009 Armory Show industry’s response to the bear market: what appears to be a shameless grab for publicity. Topless women, $5 ‘limited edition’ T-shirts, a life-size sculpture purportedly modelled entirely out of compacted cocaine, and paintings by Marilyn Manson and Lucy Liu. Oh… and taxidermy art by Carolyn Salas and Adam Parker Smith.

Seems the contemporary art market is well and truly stuffed.

Image: http://www.knightstaxidermy.com/





Poster Boy comes unstuck.

8 03 2009

So it seems the long arm of the law may have caught up with Poster Boy – the New York street artist or radical art movement, depending on who you listen to.

It’s been a year since Poster Boy began defacing advertising posters in the New York subway system. He’s attracted a cult following of sorts on the interwebs, with sites such as Gawker tracking and recording his movements through the urban underbelly.

But Poster Boy was slicing and dicing on borrowed time. There’s just too much money invested in those posters to allow him to requisition that space as his own, personal, very public anarchic playground.

This is not Banksy embellishing blank walls with whimsical stencils. The corporations that plaster their migrane-inducing posters on every available space for hire cock their collective legs on that spot to mark their territory. They own it. By subverting and emasculating their corporate messages, Poster Boy becomes public advocate. He/it reclaims public space for the public.

Is this art? That’s open to question. But there’s no doubt that Poster Boy – be he Henry Matyjewicz or not – has attracted the interest of the authorites. And with that, further infamy.

 

 

 

 

 

 

 

 

Image by Poster Boy  from: http://gawker.com/5083586/poster-boy-trains-planes-and-britney-bitch





Faking it.

7 03 2009

Money and taste. Ne’er the two shall meet. Well, that might be a slight exaggeration. Nonetheless.

One of the most paradoxical areas of growth in the recently demised art market kaboom was the emergence of  ’art villages’ in China. Populated by young artists seeking a way to apply their skills to a pursuit that might actually earn them a buck or two, these commercial enclaves churned out thousands of made-to-measure copies. Want a Velasquez to hang above the mantel? No probs. A Vermeer to adorn your powder room? Easy.

$US20 or so could get you anything. 70% of the demand came from foreign markets. Not surprisingly, the demand for perfect copies of Jackson Pollock dribble paintings has dried up since we in the West began to focus on little things like paying the mortgage. And buying food.

And as for the young artists, wooed into a cycle of dependence on a market fuelled by our veneration of the ‘Masterpiece’? They’re now struggling to survive.

I don’t care what anyone says. The law of supply and demand sucks. Bigtime.

Image from: http://www.photomichaelwolf.com/china_copy_artist/19.jpg





Suffer for your art? Hogwash.

6 03 2009

So, apparently, the economic apocalypse has an upside. According to David Ross, former director of the Whitney Museum, every cloud has a silver lining: “difficult times bring out the best in the best artists. When the economy falters, there can be a remarkable growth of seriousness in art.”

That’s right, you molly-coddled sissies. Serious art is borne of suffering. If you’re not behind in your rent, you’re not trying hard enough. You have something other than absinth and cabbage in your malfunctioning fridge? You’ve sold out. Wake up and smell the chicory grounds. 

 

And there was I, foolishly believing that the romantic myth of Bohemia had been debunked once and for all. Sorry, my artistic friends. I’ve been selling you a bum steer. Looks like ‘real’ artists must suffer excruciating pain, emotional torment  and existential angst after all, lest your art become insipid, vapid and irrelevant. Carry on.*

 

 

*Disclaimer: acknowledging that sarcasm does not always transmit successfully via the interwebs, I hereby declare that most, if not all, of the aforementioned is said with tongue firmly lodged in cheek. Other than the quote. Which is real.





Obamania: Looking after the arts end of town

5 03 2009

So, the party’s over. Balloons – deflated. Champagne – what’s left is flat and lukewarm.

As for your memories of last night? Last night. Euphoria and ecstasy. Now tempered by the unforgiving light of day. Snoring, morning-after death-breath and crusty detritus of sleep deposited at the corner of eyes that last night looked so enticing. Destiny, that mesmerising vixen, was at the steering wheel. And now she’s left you, standing at the side of the road, future unknown.

Ah, Obama. Recipient of the most poisoned chalice in recent history. And yet? He ploughs on. Most importantly, he’s looking after the arts. 

As part of the Recovery and Reinvestment Act, the US National Endowment for the Arts (NEA) have been handed $50m in funding to distribute to not-for-profit arts bodies. Democratic Congressman David Obey, bless him, sponsored the bill, saying: “There are five million people who work in the arts industry. And right now they have 12.5% unemployment—or are you suggesting that somehow if you work in that field, it isn’t real when you lose your job, your mortgage or your health insurance? We’re trying to treat people who work in the arts the same way as anybody else.”  Artists treated as ordinary citizens with a right to enjoy a reasonable standard of living? Unheard of.

This despite the objections of Senator Tom Coburn, who sought to prevent funding distribution to: “wasteful and non-stimulative” projects, including museums, theatres and art centres, and “any casino or other gambling establishment, aquarium, zoo, golf course, or swimming pool”. Dude obviously hasn’t been attending the right casinos or aquariums. Or swimming pools, for that matter. Stimulation right out the wazoo, if you know where to look.

And if ever you were in any doubt that the best guy won – Arizona Senator and failed Presidential candidate, John McCain, described the NEA funding as “hundreds of millions of dollars in unnecessary spending that will not do anything to stimulate the economy”. Can you see Alaska from your house, Senator McCain?





High-end victims of the economic crisis: Chris Burden’s newest installation Ga-goes-ians down the toilet

5 03 2009

What is the world coming to when the failing economy halts the staging of the blingiest, goldiest art event since Damien Hirst said to himself: “human cranium, platinum and diamonds – a polygamous marriage made in heaven!”?

When not even market impresario extraordinaire, Larry Gagosian, can leverage a mere ton of gold for famed shooty performance artist, Chris Burden… it’s wrong, people. All wrong. 

 

Chris Burden

image: Gagosian Gallery, http://www.gagosian.com/exhibitions/2009-03/, accessed: 5 March 2009








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