Art Addict

Bad Behavior

I'm tired of bad behavior in the art world. I'm so tired of it that I'm going to start naming names...sort of. Every time I am treated poorly in an art world situation - art fair, gallery, studio - I'm going to write about it here. I won't name the culprit directly. (It isn't my style. I'm too passive-aggressive.) But, I will share some clues.

To balance out the negativity I am also going to start listing good behavior here, naming names directly.

First the bad...

I was introducing some new collectors (friends of my parents) to galleries in Chelsea a few weeks ago when we wandered into a gallery on 26th Street that starts with T and ends with M. I went up to the desk to inquire about one of the paintings in the group show. The woman sitting behind the desk looked directly at me, grunted (maybe it was a moan) and pointed at the painting on the wall. She then turned to her associate and began talking to him, ignoring me and my request for more information. I knew a little about the work, so I spent some time with the collectors sharing what I knew. As I was talking I heard someone bark, "You can't be in there!" I turned to see that one of my friends had wandered into the gallery office to admire a painting on the wall. After being told to leave the office he asked if he could look at the painting. The gallery associate pointed at the office door and said, "Only from there."

State secrets? Nuclear material? Gold bullions? I ask you, what could possibly have been cause for barring a collector from admiring a painting in an empty office?

We left. Everyone felt a little uneasy given that it was the second gallery of many that we planned to visit that day. I was so embarrassed and prayed that we wouldn't run into any more rudeness. It pained me to hear my friend say, "Sorry about that. I'm new at this. I don't know the rules."

[n.b. I use the drawing above by David Rathman only as a visual example of bad behavior. It is a detail from a drawing I own. There is absolutely no connection between this drawing and the gallery that I discuss in this post.]

Location, Location

Two of my favorite galleries (I have many) have recently moved into new Chelsea digs. One came across the river from Brooklyn, the other just hopped up a few blocks to a lovely new space. Check out their inaugural shows...

VELCOME, 2004, Oil pastel on paper, 60 x 40in

Schroeder Romero
Ken Weaver, Royally Fucked!
Thursday, March 2nd

637 West 27th Street, Ground floor
(between 11th and 12th Avenues)

sarah meltzer gallery
Welcome Home
Saturday, March 4th

531 West 26th Street, 4th floor
(between 10th and 11th Avenues)

Keeping Track of Openings and Shows

Who's up when? What night is the opening? What is going to be showing on our trip to _______ (insert NY, London, Los Angeles, etc.)?

Keeping track of who, what, when, and where in the world of contemporary art can be tricky and sometimes overwhelming. Here are a few free email services to which I subscribe to keep abreast of openings and shows:

zingrecommends by zingmagazine
Weekly email updates of New York shows in list form. Pro: Thorough; Con: No links

artupdate
Twice a month emails listing worldwide art openings. Pro: Their website; Con: Currently more UK/Europe focused. (NB: check out the very cool and downloadable maps of New York and London updated every two months. Includes location of art fairs. Great tool if you are planning a visit to one of these cities.)

flavorpill
Weekly email list of "filtered cultural stimuli", which means the highlights and only the highlights. (The list includes events in art, music, film, theater, reading, multi-media, and more...) Target cities: NY, San Francisco, Chicago, London, Los Angeles. Pro: Each listing includes a brief write-up and all of the pertinent info - date, time, location, and links; Con: Too few art listings.

DKS List
A blog about the New York contemporary art scene delivered to your email box. This list of openings is generated by one man, Douglas Kelley, and appears about once a month. The emails often contain his personal reviews of shows or goings-on in the art world. Pro: Thorough; Con: Not always accurate so check before you go. (NB: To get on the DKS email list you need to send an email to dks@thing.net with 'YES' in the Subject line.)

e-flux
A daily, and sometimes more than once a day, email generated by a "New York-based information bureau dedicated to world wide distribution of information for contemporary visual arts institutions via the Internet." Most emails announce museum shows. Pro: Interesting global view; Con: Frequency of emails.

And, if you are planning a trip to Chelsea, don't leave home without checking out Chelsea Art Galleries, an extremely informative and easy to navigate website on all things Chelsea. The coolest aspect of the website is the ability to build a printable "gallery tour" by clicking on your galleries of choice. Edward Winkleman recommends Chelsea Art Galleries, too.

Please add other lists or services in a comment. Thanks.

Update: ArtCal is another great resource for openings and gallery shows. Thanks Barry.

Back to School

Anton Vidokle, Nuevo, 2003
16mm film transferred to digital video, 3:56 minutes

Elvis has left the building. The fat lady has sung. The Republicans have left the city. Summer is officially over. It is time to go back to school. Head to the School of Visual Arts' new gallery in Chelsea to check out their fall season show: Beginning Here: 101 Ways. Curated by Jerry Saltz with Rachel Gugelberger, the group show consists of works by contemporary artists whose careers began at SVA. Some of my personal favorites appear here - Rob de Mar, Steve DeFrank, Moira Dryer, Robert Lazzarini, Steve Mumford, Orit Raff, Lordy Rodriguez, Jon Rosenbaum, Lisa Ruyter, Sarah Sze, Lane Twitchell, and Anton Vidokle - along with some well-knowns - Keith Haring, Joseph Kosuth, Sol Lewitt, and Lorna Simpson. A complete catalog of the works in the show is available online.

Visual Arts Gallery
601 West 26 Street, Suite 1502
New York, NY 10001
212.592.2145

Beginning Here: 101 Ways
September 7 - October 16
Tuesday - Saturday 10-6

10 Questions

Have you ever wandered into a gallery and felt curious or lost? When you looked around to find someone to steer you out of your confusion, was there anyone in sight? As I've written before, galleries are not generally service-oriented entities. If there is a human in sight they are most likely sitting in the entrance behind a large desk, reading, talking on the phone, or doing anything to ignore you.

Once you have someone's attention, have you ever felt insecure about asking a question? Intimidation is a well-known sales tactic, especially in some of the Blue Chip galleries. If you aren't "in the club" (they don't know you and/or you've never purchased anything at the gallery), many galleries won't offer any assistance, even if you ask. I have a friend who worked at one of those Blue Chip Chelsea galleries not too long ago. She got in a whole heap of trouble for sharing pricing information with an inquiring gallery visitor. Sharing any information with strangers in this gallery was a no-no. When she asked her boss how she should have responded to their questions, she was told that if "we" don't know the individual inquiring then you tell them that the work is no longer available and leave them be, prompting no further questions. In other words, be rude.

Thankfully, service and friendliness have crept into many galleries as a survival tactic in today's experience-driven economy. Don't be intimidated to ask any questions you may have while standing in a gallery. If the woman or man dressed in black scowling at you behind that front desk proves to be of no help, kindly ask to see someone who may answer some of your questions. I can't promise that you will be treated kindly or considerately in every gallery, but it never hurts to ask.

And if you are going to be brave and ask questions, here are a few I use to get the conversation started:

10 Questions to Ask at a Gallery

1. How old is this artist, and where is s/he from?
2. Is this the artist's first solo show?
3. Where else has this artist shown?
4. Can you tell me a little bit about this exhibition?
5. Do you have some earlier work by this artist that I could see?
6. What do you like about this artist's work?
7. Can you tell me more about this particular piece? (Ask this when you especially like, or even when you especially dislike, a specific work)
8. Do you have a price list, and/or what work is still available?
9. Do you have any information on this artist that I can take with me?
10. Do you have a mailing list, and if so, how can I get on it?

Fredric Snitzer Gallery - Miami

I was recently in Miami and stopped in to visit Fredric Snitzer's new 3,500 sq. ft. gallery space in the Wynwood section of downtown Miami - 2247 NW 1st Place. Although off the beaten track (but located near the Rubell Family Art Collection which opens to the public, again, after a major renovation and addition in December, 2004) this is a "must see" gallery if you are in Miami and interested in contemporary art.

Up now is Lock Stock and Barrel a group show of Miami based artists, including Hernan Bas, Jos Bedia, Cooper, Naomi Fisher, Westen Charles, Robert Chambers, Bhakti Baxter, Robert Chambers, Adler Guerrier, Jacin Giordano, Lynne Golob-Gelfman, Jiae Hwang, Maria Martinez-Caas, Gean Moreno, Norberto Rodriguez, and Mette Tommerup. The show runs through June 30. My pick of the show are paintings by Jacin Giordano, priced between $800 - $3,500. Here's one of his gorgeous, textured, and sculpted larger works (roughly 4' x 2'):

Just for fun, and because you know I love them, here's a shot of Fredric Snitzer's very large and accessible "back room":

G.O.A. - Gallery Openings Anonymous

I am not a fan of gallery openings. It is just my opinion, of course, and by the looks of things, I may be alone in my thinking. Gallery openings, which take place at the beginning of every show, are a social affair. It is the worst time to check out the art mostly because it is so hard to see the art through the crowds. Here is a photo of the Vik Muniz opening at the Brent Sikkema Gallery last Friday night:

Where's Vik?

Notice that no one is looking at the art and instead they are looking at each other. The arrow in this picture is pointing to Vik. He's hidden in the crowd back there. If you are interested in seeing an artist, then gallery openings are for you because the artist most likely won't be back in the gallery during the run of the show. But, in most cases, seeing the artist is all you will be able to do. Talking to the artist is rather difficult because so many are waiting to do the same thing. Your conversation should go something like this...

YOU: "Hi. My name is ________. I am a big fan of your work. Congratulations on your show."

ARTIST: "Thank you."

... and before you can get your next sentence in the artist is turned towards another adoring fan and you are left standing there hoping to get another chance to talk.

Most artists I know aren't particularly wild about their own openings because they can be exhausting for them, but all recognize the importance of having them. They do serve a purpose. It is an opportunity for artists to put "a face" on their art, to reconnect with or meet fans, and, hopefully, art critics.

Not all openings are as populated as Vik's openings. It depends on the artist and gallery's popularity. Many artists, especially emerging artists, need the support of bodies at openings. So, if you're going to go and you aren't working on your own social "sighting" statistics, choose an emerging artist's opening. And, if gallery openings are the only time you enjoy being in galleries, then please, by all means, keeping going!

I don't write this post hoping to get fewer people to attend openings. Despite my negative feelings about them, I go to openings every once in a while to show my support for the artist. I just felt like sharing in case anyone out there felt similarly. Welcome to G.O.A. - Gallery Openings Anonymous.

At the tail end of Vik's opening, two lucky fans, in town from Korea, were able to get their picture taken with their favorite artist. Lucky them!

Vik and fans

Gallery Back Rooms

One of my favorite things to do when visiting a gallery is to pop into their "back rooms". All galleries have them. Unfortunately, not all galleries allow you access. One way to get in to see the hidden space is to ask to see works by an artist they represent that is not currently being shown in their front gallery spaces. This doesn't always work, especially if the gallery doesn't know you, but if you mention that you are interested in collecting the artist about which you are inquiring (i.e. spending money), then they just may oblige. Also, it helps if the gallery isn't especially busy during your visit.

Hidden Gems

"Back rooms" are used for storage. Most works will be shelved and wrapped up, as they are in this picture. If you do your homework and play your cards right, the gallerist accompanying you may take the time to unwrap a few works in which you show interest.

Giovanni showing me works in Roebling's back room

I recently visited Roebing Hall in Brooklyn to see the Eve Sussman show. While there, I asked Giovanni Garcia- French (delightful, professional, and accommodating) if they had any works by Christoph Morlinghaus who had a show up in February that I missed seeing. I was delighted to find that they had three large Morlinghaus photographs wrapped up in the back. Seeing works propped up on the floor may not be the ideal way to view work, but for some reason I get a kick out of it. It's feels like Christmas to me to have works unwrapped and revealed as I stand and watch. I'm weird.

Pierogi's "back room"

One of my favorite galleries, Pierogi, has taken the intimidation out of "back room access" by putting it right up front. Pierogi's famous Flat Files, pictured above, are available to every visitor and are the first thing you see when you enter the gallery. With art-handling gloves available to all, you are free to browse thousands (yes, thousands) of artists' files all on your own. Some of my favorite art has come from these very files and I rarely leave the gallery without purchasing something.

With so many artists to browse in the Flat Files, it can be a little daunting. If you go, just start by randomly opening a few files and you will be hooked. They also have available a list of all artists represented in the files so you can browse for familiar names. I hope to one day post about my recommended "files", but have yet to find the time to commit to weeding through the whole lot. Whenever someone asks me where to go to find affordable work or to start their collections, I often refer them to Pierogi's Flat Files. It's fun, not at all intimidating, and a great way to see a lot of artists, both emerging and emerged, in one place.

Happy hunting!

Guild & Greyshkul

Kirsten Deirup, Rumsfeltastic, 2004
Watercolor, pencil, and colored pencil on paper

Right next door to Deitch Projects on Wooster Street is a gallery and studio space called Guild & Greyshkul. The gallery is relatively young, opening in 2003, I think. Their "About us":

Guild & Greyshkul is a gallery and studio founded by Anya Kielar, Sara VanDerBeek, and Johannes VanDerBeek, three young artists who felt it was imperative that the property, given its notable history as a successful co-operative gallery and the former location of American Fine Arts, remain an artist space and a vital part of New York Citys arts community.

I met Anya and Sara while I was there and must report that even though they are right next door to Deitch, their attitudes are miles apart. (See yesterday's post.) Sara spent some time with me answering my questions about the show and telling me a little about the gallery. (Like my earlier gallery rant... I had to approach them first. But once I did they were perfectly polite.) If you are in Soho this weekend, or anytime before May 15, stop in and see the show They Think I'm One of Them with Martias Becker, Valerie Crosswhite, and Halsey Rodman.

I especially recommend the show that is up in the Project Room right now. It is a selection of watercolor paintings by various artists that don't usually work in watercolor. Sounds odd, but it's a great group of works. There are roughly 30 artists represented and most of the work is priced between $150 - $1,000. (Works by Ernesto Caivano, Rebecca Bird, and Nick Lowe are priced above $1,000. Nick Lowe's watercolors were the inspiration to get other "non-watercolorist" to make work for this show.)

Go and collect from this gallery. Great art, great attitude!

Wanna be an "Art Star"?

Debs & Co. have a "really whacky show" (to quote gallery co-owner Choire) taking place in their Chelsea gallery right now. Make work - paint, draw, cut, paste - during your visit to the gallery before May 8 and they will include it in the show. They'll even try to sell it for whatever price you chose. If they sell it, you get 50%.

Art Star/Sausage Factory
April 15 - May 8
Debs & Co.
525 West 26th Street, 2nd floor

So, now it is your turn to show "us" your definition of great art and have fun trying to set prices for your own work. Debs & Co. have also invited artists and other "whacky" friends to particiate so there should be some interesting work to see. Check out all the details and rules.