So will these new dads just be those who can manipulate the algorithms to see only their sites, regardless of the intrinsic value of the offerings? Such a shame? OR an opportunity for the unknown artist otherwise unknown to the public....
I think it remains to be seen. There are a lot of shifts happening and so many ways this could go in terms of what happens next but it's anyone's guess.
My money is on art advisors. The velociraptors of the art market. They’re not bound by a stable of artists so they can go anywhere client demand takes them and work directly with artists. The gallery model only works economically for 1% of artists as far as being able to guarantee a sustainable living. More artists are wising up to the fact that we don’t need a daddy when we can pimp ourselves out.
Wow, this article is so unnecessarily apocalyptic !!! Art dealers, galleries and artists come and go. The art world ( art business ) is not immune to cycles. And why should it be anyways.Some are gone, new ones will show up.. Cheers
It's really not. Adam and Tim are two towering figures in the art world and them closing is part of a larger under current of shifts happening in the art wold and market. And of course there are cycles but it's also pointing out what's next? And where are we headed.
This is very well done. Much to say about the world that seems to be passing, which itself replaced a world in which “art” could be understood in terms of a few dominant narratives, old MoMA for short. Much more to say, but no time at present. I do wonder, however, if you are considering a book?
There's the period between Robert Hughes signing off for Time (which was maybe kinda the end of widespread American interest?) and saying "it's all just money," and today. Call it 1990-2025? But I think the MoMa narrative sort of ran out with the abstract expressionists, which I seem to be losing, i.e., they used to mean more to, hit harder on, me than they do. I'm not sure anything that came after, Pop/Warhol, various sorts of celebrity . . . but for a while, maybe, tastemakers (?) held it together, though it was never clear to me what that was based on . . . and now you are saying even that is gone. Anyway, material for further work.
So will these new dads just be those who can manipulate the algorithms to see only their sites, regardless of the intrinsic value of the offerings? Such a shame? OR an opportunity for the unknown artist otherwise unknown to the public....
I think it remains to be seen. There are a lot of shifts happening and so many ways this could go in terms of what happens next but it's anyone's guess.
Illuminating article. Thanks for writing this!
That’s very kind! Thank you for reading it!
My money is on art advisors. The velociraptors of the art market. They’re not bound by a stable of artists so they can go anywhere client demand takes them and work directly with artists. The gallery model only works economically for 1% of artists as far as being able to guarantee a sustainable living. More artists are wising up to the fact that we don’t need a daddy when we can pimp ourselves out.
Wow, this article is so unnecessarily apocalyptic !!! Art dealers, galleries and artists come and go. The art world ( art business ) is not immune to cycles. And why should it be anyways.Some are gone, new ones will show up.. Cheers
It's really not. Adam and Tim are two towering figures in the art world and them closing is part of a larger under current of shifts happening in the art wold and market. And of course there are cycles but it's also pointing out what's next? And where are we headed.
This is very well done. Much to say about the world that seems to be passing, which itself replaced a world in which “art” could be understood in terms of a few dominant narratives, old MoMA for short. Much more to say, but no time at present. I do wonder, however, if you are considering a book?
That's very kind! I have a couple of book projects going but not on this topic specifically.
There's the period between Robert Hughes signing off for Time (which was maybe kinda the end of widespread American interest?) and saying "it's all just money," and today. Call it 1990-2025? But I think the MoMa narrative sort of ran out with the abstract expressionists, which I seem to be losing, i.e., they used to mean more to, hit harder on, me than they do. I'm not sure anything that came after, Pop/Warhol, various sorts of celebrity . . . but for a while, maybe, tastemakers (?) held it together, though it was never clear to me what that was based on . . . and now you are saying even that is gone. Anyway, material for further work.