One wonders if, instead of falling apart due to an imbalance cased by monied art fairs, perhaps the art market is adjusting itself by spawning a separate art fair culture which will have, in the future, as many tiers as the current hierarchy?
In an interview with GalleryIntell’s Cat Weaver, Adam Lindemann opened up a can of whoop ass on the art world:
“Collectors are the biggest dealers today in the sense that every collector is trying to be a dealer. Every collector is trying to wheel and deal and play the market. Everybody wants to be a player. I guess I’m partially to blame because I was the epitome of that type of collector— buying and thinking about the values of —whatever —my interest in art had run its course in that way. I was kind of like,“I’m done with it. I’ve lost my interest in art.” And so I thought that by opening my own gallery, I could sort of come at the art world in a different way.”
Love Saves the Art World
Rumor has it that speculative “flipping” has brought a new kind of panic to the art market, one that is causing the more savvy collectors to bail out. Experts worry that the resultant art dumping may lead to a burst in the currently robust and long-lived art bubble.
How to Talk About Art: Christopher Wool Edition (#H2TAA)
Bonus: if you talk about Christopher Wool’s abstract works, which, though not as popular, are amply better looking and a lot more fun than the text paintings, you get to talk about mark-making, process, and erasure. Along with that you get to come off as the better aesthete — the one who appreciates the less obvious work.