Is the Art World Too Big for Its Own Good?

PC: The only thing I’ll say is that I do understand if an artist would like to try something else, have a different experience. But in so many of the cases that I have suffered through, they have been chased and chased by bigger galleries. It’s not because they of their own volition thought, “Oh, I’d like to have a different experience or do this or do that.” They have been pursued, and stolen.

SK: I think there’s something fascinating that I have been made aware of — both of my kids work at the gallery. They’re 34 and 32. And when I was trying to survive as a gallerist, my generation, we were not as collegial. We were fighting on our corners and trying to make space. Building it and hoping they would come. It was a different way of thinking.

PC: I’m even before you and it was even more different then. There was plenty of space!

SK: Bridget and Elyse’s generation, my kids’ generation, they’re incredibly collaborative. And they are working together and building networks and building their systems. And it is totally different from how I passed through the art world at their age, and, to me, it is so much more healthy and fascinating. And of course there will be corporate raiders and pillaging going on at different levels of careers, but your generation is such a different ethos. And I’m encouraged by that.

ED: The mentorship I have experienced since moving to New York — I never worked in a professional gallery. I started in Philadelphia with an artist-run space, and moved here, and knew nothing. But I’ve had an incredible support network. And I don’t know how anyone could do it without that.

BD: On the Lower East Side, we have a ring of emails of certain galleries where we ask things like, “Hey, does anyone know this collector?”

PC: Oh, that’s amazing. Wow.

SK: I think it’s an interesting comparison. When Paula was doing it, she was Paula — there wasn’t anyone else.

PC: Well, and nobody was that generous.

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