12/19/2005: "Is there an ‘art mafia’?"

For artists trying to get their work shown, it often seems like there’s a group of ‘insiders’, whose work is always being shown, who always get invited to shows in other places, and who seem to have always been in the spotlight. If an artist comes to town anywhere without knowing anyone, they find that as much as they try, no one even wants to see what they’re doing. And perhaps they’ll be in a bar one day, and a newcomer from Los Angeles, that no one has ever heard of, suddenly has a show in the town’s museum. They’ve gone from zero to number one in an instant, leaving observers baffled as to how they did it. Frustrated, other artists conclude that there’s some kind of organized effort to promote certain people, and not others.

In traveling around the world, we might visit the largest contemporary museums and walk away with the same impression. Wherever we go, the same artists are always there, with very few new ones we don’t already know. It’s rare to find an artist in one museum and not in others as well. The same is true of public works. In Kansas City, or Madrid, or Berlin, they always seem to be made by the same people.
Has there been some kind of worldwide organized effort to promote artists like Jenny Holzer, Bill Viola, and Julian Schnabel? And to close the door on other artists who don’t have their foot in yet, no matter how good they are?
I think not. But art is, after all, primarily a business, and not the caring for a cultural treasure. Artworks only become cultural treasures after they have established a business track record.
If we carefully consider what objectives art professionals want to achieve, be they museum directors, critics, curators, gallerists, or backroom dealers, all have one priority ahead of any others in their individual strategies for personal success. It is, to make themselves ‘big time’ players in a game that has little or no pity for those hampered by sentimentality.
The perception is, if you associate yourself with greatness, some of will rub off on you. It’s easy to do, while, on the contrary, the discovery of new talent is both risky and difficult. A museum which needs to accumulate work will inevitably choose the work of well known artists because it makes their museum more important. That this hides a lack of ability to judge quality is of no importance. The people visiting the museum and looking at the work will be even less qualified, and therefore even more drawn to names they already know.
If you were charged with the responsibility of selecting works for acquisition by a museum, you would have to justify your choices to the museum’s board, which means to those who give you your paycheck. These people are less qualified than you are, because board members are generally not art professionals themselves, rather they are in elevated social positions and need you to explain, in terms simple enough for them to understand, why you made the choices you did. The easiest way to do this, the path of least resistance, is to say that the work is already in the collection of another museum. The board will tell you you’ve done a good job, and you will retain your position.
In other words, as long as you respect the criteria of a Bree Van de Kamp as to what behavior in your role is acceptable, and what isn’t, you’ll get by. And if a few Rexes die along the way, while you’re making the bed, or tempting the pharmacist, at least you’ll sleep soundly knowing you didn’t technically do anything wrong.
If it seems there is an art mafia, that is because we perceive ourselves to be passengers in a vehicle going down the road. We assume someone is driving it. In fact, that is very irresponsible on our part. We haven’t even looked to see who it might be.
One of the ways which enable museums to exhibit the work of new artists, is to get a group of curators together and agree to acquire the works of a certain artist for a group of museums all at once. Each one can then say that other museums are in the process of acquiring, or have acquired, the same works. Inevitably this is where the collector becomes involved.
A collector with a significant number of works by a certain artist, will work hard to get these to pop up in a number of big name museums, all at once. He will agree, therefore, to donate seven of his collection of fifty to seven museums, keep the curators safe, and create publicity, by doing it all at the same time. He’s left with forty three, and their value will triple or better in the twelve months to come. The curators haven’t risked their skins, and everyone walks away smiling. The public will never know things happened this way, as their impression will be that an emerging artist has suddenly been recognized. This situation exists because nature abhors a vacuum. If no one is driving the car, then whoever can gain by jumping into the driver’s seat, will.
Why is it that the critics always seem to have the same opinion, one that is almost always a positive, glorifying tribute to whomever they review, with one slight negative observation? This last is to make themselves appear strong, and the rest is because they’re too weak to do other than praise the work of an artist already in the spotlight of the international community. They either tag along with a group they believe is powerful, or they resist that group by themselves. Few critics are strong enough to do that. After all, nobody wants to swim upstream. The critic who applauds work that has already achieved star status has become a part of the debris cloud circling that star.
There is no organized ‘art mafia’. There are no ‘bosses’. But the art merchants, and the slews of stage door Johnnys that go with them, be they critics, curators, or local government officials handling cultural events, will always walk downhill on the path of least resistance. We’ve read, here on this site, about where we can go to see the art that the desperate housewives of the world think is the right thing to go see simply because it’s been so heavily promoted. The people who champion established artists have no power themselves, but serve to reinforce the power of the people running things by agreeing with their choices, and even falsely proclaiming to have been a part of the selection process. As with the museum director who falls in line with the flock to keep his job, such individuals allow themselves to become important only through the abdication of their individuality, by becoming foot soldiers who back the self serving choices the biggest, most serious collectors have made so as to increase the value of their collections.
What I have described is as natural as the arrival of rain in the Amazon. If a vacuum exists, it is soon filled. The opportunity to collect art, and then be able to increase its value through a museum is a relatively recent phenomenon. That Charles Saatchi was able to do this so easily with the Brooklyn Museum should tell us something. The best defense against art on steroids, is film and literature. If writers ridicule, and film makers expose, then real art has a chance. The public, that sea of humanity that affirms and legitimizes things they know nothing about, has to be made to laugh the same way Eddie Murphy made them laugh in that gallery scene in “Beverly Hills Cop”. The misplaced faith the public has in self proclaimed professionals has to be revealed for what it is; the epitome of ignorance.
If you’re a buyer buying for investment, stick to known names, the more well known, the better. You will have a veritable army of people working for you to increase your acquisitions’ value, most without a direct financial interest in the works themselves. If you are buying because you are struck by a piece, buy without fear of criticism, trusting in your own judgment. You’re the one who will have to live with your choice. You won’t have the security of the approval of your peers, but you can be happy in the knowledge that almost all of them don’t really know anything about art anyway, besides what they’ve read. And the observant among us know why what they’ve read was written, and why the status the writer was seeking to achieve was of primary importance, and the content secondary.
Nature provides opportunities for every beast in the jungle, including you and me. To be able to seize the moment when it comes your way, you have to know what makes the machinery hum, how it works, and why. You need to be as knowledgeable as possible to see not just what happens, but the naturalness of its happening. You also have to know which animal you are. A rabbit can’t play a tiger’s game, but in the love shack, he has a lot more fun.
Nature also provides risk, to allow the best examples of a species to prosper, while the weaker ones are swept away. Be strong. Accept the game you’re in, the cards you have been dealt, and play them like a pro.

Replies: 24 Comments

on Monday, December 26th, Kelly Borsheim said

Perhaps I am VERY naive or just hopeful, but I council friends applying for jobs and scholarships that there is something in human nature that they should use to their advantage. We all (?) want to be around successful, interesting people. Scholarship recipients are generally the ones who show in their application that investing in them will prove that you can pick a winner. Winners are confident and back it up with quality, worthwhile activities (proof). Confidence is difficult for some of us to portray, but we have to learn to speak with it (clearly and simply) about our work and about where we are going -- while we stay on our path. We pick up fans and supporters along the way. Some years ago, I would watch the Biography Channel for inspiration while I worked. There is often a common thread to these celebrity profiles -- overnight success was NOT. It was a product of years of honing skills and exercising their voices - and meeting people one day at a time. And many of these successful people had the sheer audacity to ASK questions of other successful people in their chosen fields. Mentors were gained and so were jobs. And often, the job in the local community theatre (for example) just happened to get one noticed by a set of wild circumstances. Constantly working at one's art increases the chances of happy and coincidental meetings. When we know what we want in specific terms, it is easier to plot the path we must take in order to get it. And then ask for it. Sometimes there are people who want to help us, they just do not know what we need.
Dear Andrew, if you want Mr. Trump's attention, then perhaps you should apply for his next show of "The Apprentice" -- send him an audition tape showing how sculpting (with your wonderful work in the background) is problem solving and even working with other people. Who knows? And if you are successful in that, I trust you will send him my way, too!

on Saturday, December 24th, charles mcgowan said

The painting like the novel is "dead" part fashion victim part yellow brick road road kill (implications implications I have gained implications-sorry Shakespeare). The necrophilla of post modernism could/can be fun you can participate but it pays to have a fine arts degree and connections lots of them. We must all follow our own dream till the pavement turns to sand (thanks Neil Young). As they say in England dont let the bastards grind you down- take a cliche any cliche you may be charlatan, magican, prophet or all of these roles. So see what you make of love, hate , life, death, fame or obscurity- see you on the road.

on Saturday, December 24th, charles mcgowan said

on Saturday, December 24th, Matt said

Andrew,

Well said!

on Friday, December 23rd, David G. Wilson said

Wow! What a piece of truth. I have long believed that the art scene was a money game. I just needed someone to confirm it for me. When I look at the quality of work that is collected by these MODERN ART COLLECTIONS, I am left to wonder, what is the criterion of GOOD art? And every time I go to a museum I see more depressing stuff, that leaves me wondering in what derction is art headed. I cringe when I see the type of artwork that is being lauded today.
I recently read about a multi-billionaire collector who purchased for tens of millions of dollars, the work of an artist of whose work he is already the largest collector. It then occured to me that all he was doing was artifitially inflating the value of those pieces( by that artist) that he already own by uping the auction value of that artist.I rthen realized that the art world has nothing to do with true aesthetics, and that the art market is manipulated by the dealers in colaboration with the collectors who purchase from them. Hey! you scratch my back and I will yours. Help me to increase the value of my collection and I will buy more from you. This is the "name" in whom I am interested and in whom I have a financial stake and you had better promote this artist.

on Thursday, December 22nd, GaPaL said

#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-
12/19/2005: "Is there an ‘art mafia’?" by Andrew Wielawski
~Art & Artists are two totally different arguments,
My very dangerous comment :quote from Directors and Curators from Museums around the World) : Artists are very difficult individuals to deal and work with, artists do not separate reality form their own reality, and therefor; Society encounter them as sociopaths, outsiders no matter ware the Artist is coming from.

Galleries Merchants:is a very "exclusive Topic" (Dangerous zone), art mafia - NO - , but a followup com-plot -YES-; certainly motivated by just an opportunity financially -YES- * orchestrata per più persona, quote: the Art BASEL Miami beach Exhibition, at the convention center, more than a 500 press delegates Art related media ware involve into the resources of marketing publicity.

~Thank you Absolutearts.com
for this opportunity.
Mary Christmas and a Happy new year for all. and make the spirit of Subliminal marketing; empower the sales of all the good alienated Artist around the world and give them the talent to handle and Incorporated them selves into thous Art Dealer Associations around the World, or ,making them to, do not SALE & CONSIGNATE Art work to any Gallery, Museums, and be INDEPENDENT SUCESFUL ARTISTS OF THE 21 CENTURY.
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on Thursday, December 22nd, GaPaL said

#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-#-
~Art & Artists are two totally different arguments,
My very dangerous comment :quote from Directors and Curators from Museums around the World) : Artists are very difficult individuals to deal and work with, artists do not separate reality form their own reality, and therefor; Society encounter them as sociopaths, outsiders no matter ware the Artist is coming from.

Galleries Merchants:is a very "exclusive Topic" (Dangerous zone), art mafia - NO - , but a followup com-plot -YES-; certainly motivated by just an opportunity financially -YES- * orchestrata per più persona, quote: the Art BASEL Miami beach Exhibition, at the convention center, more than a 500 press delegates Art related media ware involve into the resources of marketing publicity.

~Thank you Absolutearts.com
for this opportunity.
Mary Christmas and a Happy new year for all. and make the spirit of Subliminal marketing; empower the sales of all the good alienated Artist around the world and give them the talent to handle and Incorporated them selves into thous Art Dealer Associations around the World, or ,making them to, do not SALE & CONSIGNATE Art work to any Gallery, Museums, and be INDEPENDENT SUCESFUL ARTISTS OF THE 21 CENTURY.
################################################

on Thursday, December 22nd, Andrew said

Here's a question. I know Donald Trump collects figurative marble statues, but I'm at a loss as to how to reach him. My efforts so far have not resulted in any response whatsoever. Any ideas?
Richard, your input is valuable, and thanks very much for posting these links. I'm certainly one to explore them. Hyacinthe, I could tell you stories of Russians with suitcases full of hundred dollar bills, of drinks flying into people's faces, of broken light bulbs in artists' gas tanks. But if I did, my credibility would be damaged forever, because the truth is often harder to believe than complete fiction. We have to sit down together, trade stories, and laugh one day.
Michael and Amy, there's a certain negativity that is coming through the words you have used. It is not that the environment is corrupted by anything, it is that the environment is what it is. The desert is hospitable to some kinds of life, the rain forest to others. It is up to you to figure out what you can or cannot do. But at least make an effort to get around the roadblocks it seems like you're putting up in front of yourself. Amy, if this means getting to know people in order to sell art, then get to know people. Or try another business. It sounds like this is where you are headed now. It is true that Art is not the idealistic fairy tale we were told by our 70's teachers, but neither is any other business. Art is not a flower that is carefully tended by all who walk by. It seems that's what a lot of people want to believe. Wake up from your slumber, have a coffee, and go get something productive done.

on Thursday, December 22nd, Michael Fornadley said

Could be the whole system is corrupted, integrity of the art coming second place to selling the artists themselves. Really is amazing how much is place our physical appearance and how we represent ourselves in order to get into a commerical gallery. As Amy mentioned it could be not the gallery owners, but the fault might be the collectors. It appears the market system has the same mentality as a business corporation, the art and the artists are basically a piece of meat with a number on it. When they fail to provide a service and not producing, get rid of them by all possible means. This kind of relationship will produce an artist who may be able to play the game, but with the cost of being as cold and as devious as the people who are trying to control them. Best plan of action is not to rely on any control that they might have on your future dreams or endeavors, that means having the ability to support yourself outside of doing art. Let the art do the talking instead of falling for the con job of making a living at it of a gauge for being successful.

on Thursday, December 22nd, amy said

it is who you know, who you know. who they know.. that you know.. that they know..and so on. i know this personally as a gallery owner, soon to be former gallery owner in abq, nm. sometime it is who your collectors are , who we know that you know.. aha, but...so if you are an artist, just keep swimming, just keep swimming. i mean it. it is who you know, but ego, confidence, and know-how are 95% of the battel. -out

on Thursday, December 22nd, Hyacinthe Baron said

Andrew, et al: Here's a topper. When we moved from NYC to Scottsdale we noticed that most of the galleries were owned by women and most of their artists were men. We decided to have some fun and so signed several paintings of beautiful women with a nom de plume: The Baron of Arizona.
In the instances where the work was shown as that of a woman there was little or no interest so Ed was sent out as the artist and received many offers to show the work and even more.

This incident became grist for our second novel in the Art Mystery Series, BURNT SIENNA IN SCOTTSDALE, which are 99% true adventures and the rest our pure imagination.

Every now and then it is fun to turn the tables on some of the more self obsessed players in the art game.

on Wednesday, December 21st, Richard H. Fox said

It is extremely refreshing and instructive reading all the viewpoints expressed here. For myself historically I have piled the work up as I finish them. For a long time I was satisfied (sort of) with the small audience I had, but in the end I truly wanted more exposure. Because an audience for the work is important. The work lives when the light is on and someone views it.

So I did what I thought smart: spent long time on self instruction, learning the craft I set myself, and finding how best to express what I felt, and then in gaining confidence tried reaching out to a wider world.

Through a number of years I have tried "breaking in" the gallery scene and found myself truly frustrated by the bullshit, ignorance, arrogance.. expecting cash up front just to exhibit.. lord I could go on. My only genuine answer to all of it was just to keep working and be open to opportunities as they presented themselves.

As it stands today the website I got together was a terrific investment, as it shows the work without my having to promote myself in person, so to speak.. I push it along (lord knows) by cluing people to it; but generally the site itself has been my best advocate.

Frankly I have become rather devious in putting out "non-gallery" feelers, meaning other types of markets that build a reputation. Getting work represented online through recognized art image licensers, (for example- www.SuperStock.com) , something I have been working on this year, also sites that advertise opportunites for competitions/exhibitions nationally
(for example www.artdeadline.com) -- these methods have been terrific. Definitely got commissions/shows/art buyers via these routes.

Anyway, not sure how useful any of this is to anyone, but no harm in sharing. Thanks.

on Wednesday, December 21st, Andrew said

Jose, a point you skimmed that is worth going a bit further into is the following. Possibilities for artists, like the internet, are developing so fast that the so-called heavyweights in the art business now have a weakness worth exploiting. It's just as likely that someone other than them will create a truly creative mass exposure tool, like Keith Haring did in his wall paintings in the subways of New York. Within a short time, everyone knew who he was. Who created this opportunity for him is not important, but this example shows that low tech with a new idea is powerful. Imagine what high tech can do. I keep saying it, don't restrict your creativity to the canvass. It's a weapon, it's a tool, it's whatever you want it to be.
And that brings me to Hilary Leigh, if you're still with us. Body painting in Texas. What can be done with it? If you can get yourself somewhat known, in just about any venue, then at least some galleries will want a piece of you. Why not try a catering firm that works with the Dallas Cowboys? Contact their pr man. If they throw a party, and some of your body painted girls are there, it will be a kick for all. And you can always paint their girls if they have their own. Or another cutting edge caterer for other parties. This isn't selling out...it's exposure. And me, I've always wanted to body paint a statue. Contact me. Maybe we can show it in Dallas, or Houston, as a collaborative piece.
Ed, you've added substance to what I already believed. Olga, thanks. It's nice to hear that what I write is clear.
Iglooo, that's another point, banding together, but let it be behind one, very sharp individual, because too many chiefs and not enough indians always reduces the effectiveness of whatever you do.
Mr. Viddy, I've said it before and I'll say it again. The jungle is not a place for rabbits who think they're tigers, it changes all the time, and you better change with it. Any type of personality can be presented anywhere within the right context. Don't change the artist, just the context in which they're presented. And stay away from people too fixed in what they want to sell. You can't sell a Chevy out of a Ford showroom.
Duygu, thanks. Few words say much. Churchill once said,
"A man who uses six words to say what can be said in four, is capable of any crime,"

on Wednesday, December 21st, jose freitas cruz said

Andrew, this is one hell of a description of the forces we are up against and a great insight into its mechanism. For once, also, the responses seem to be aspiring to communicate and not bring the house down. I subscribe 100% to that last paragraph you wrote and like iglooo suggests a good idea is for artists to occasionally group together and generate a dynamic of their own. We’re starting to realize that there are more and more tools at our disposal to make the dice roll in our favour… but we can’t just sit back and watch them being shaken by someone else, it is time we take the cup into our hands.

on Wednesday, December 21st, Mr. Viddy said

Many years ago when I used to represent my girlfriend as her business manager I often felt, when dealing with galleries and other art venues, that there was a definite insider's club that was hard to infiltrate. Often it would seem as though there was no rhyme nor reason behind the decision to show one artist over another.

But I came to realize that it typically boiled down to one thing. It was not talent or medium or subject matter that got one artist shown over another. It was simply attitude. Most galleries I dealt with cared less for the quality of the work than they did for the attitude the artist portrayed. It is all superficial anyways. They wanted a certain reputation and wanted to draw a certain crowd so the outward appearance and attitude of the artist is what they based their decisions on.

Fair? Who is to say. Frustrating? Definitely.

on Tuesday, December 20th, HilaryLeigh said

For me I have found it is so very hard in ways to even know where to start with marketing here. I am in Texas of all places. I have been here for about 8 or 9 years and have done a couple of bodypaint and now pg rated facepaint magazines and things to try to get seen in places. I do sketch and paint also but, for some reason the bodypaint is what I really love. It seems most here that hear that word think of finger paint or the tracing of body contures. Since mine is not as most it seems for me I get more than just no's to place things in stores or gallery's. Yet the works I have seen in some of them made me wonder if they had their kids selling works but, they do not even look at mine. Maybe the facepaint book is too detailed and scary to most but, I wish they would at least give me a chance. I found this site in art searches. I am in hopes that someone will know what I can show my works. I have had to kind of chop or edit may page for now since there is not an adult erotic art link on that website. I have to keep it all pg anyway for the usa that does not seem to understand it. I feel this is the worse state to market but, I am stuck here for a couple more years. If anyone here can give any help please do so. Is there a place I do not know about to try to take in my paint photos and magazine even.?
Leigh Girl

on Tuesday, December 20th, Olga said

Andrew, it's an excellent blog, I enjoyed reading your thoughts which I found very logical and clear. Thanks!

on Tuesday, December 20th, Andrew said

Lee...one of the best pieces I ever did wasn't just because I needed to do it for myself...I don't believe that anyone plays to an audience of just themselves...and for me art is like music, or dance; I want to convey something to...forgive me...an audience. And I want them to appreciate what I do enough to pay for it. I can hear 'Wow!' all day long, but I don't get the sense that it's as sincere as when someone says 'Wow!' while they're writing me a check.
Aleksandra, every one of your words is saturated with Fear. All of the responsibility for your success or failure as an artist is something you must bear yourself. Abandoning fear is the first step towards integrity. Upon fear, you can't build anything, nor can you make effective your intelligence. If you're without a weapon, and staring at a big gladiator with a sword, ready to strike you down, fear not. Be creative! Throw some sand in his eyes!

on Tuesday, December 20th, Lee said

Good topic, and interesting to read peoples veiws of the arts market. One thing I read above caught my eye "art is one thing know one needs" but really they benifit from in every part of day to day living. If we are talking specifically about a piece of art, in what ever medium or form then it will be the "need" of the artist to produce it, if you produce work for a market then I would argue you are producing a product not art. if you are creating art you do it to satisfy your need to create , communicate, challege first.
When it comes to breaking into being recognised for you work, there are many other ways of doing this rather than pure sales. Establish your self through your work and bulid connnections with people for example volunteer your services to charities for free this can be on a scale to suit yourself. people will see your work, it helps build on a c.v. of work produced. We all dream of being descovered but a little reality check shows thats not likely to happen if we dont work at it.
Dont blame galleries they are in business they have to turn profit to make a living.
As artists we are driven to create to fill our need. being successful in a moneratry sense is just a bounus not the reason to do it.

on Tuesday, December 20th, Aleksandra Jarosz said

Ed!
First of all the artists name you mentioned is NOT Abranakaweiz. I think you ment ABAKANOWICZ. She is the one who does, among others fiber sculpted backs.
Well it is actually so sad that some people just don´t get it and never will. Unless your name is Kandinsky which I suggest every foreign artist should be named after. Relatively easy and already famous. This kind of nonchalance when it comes to the names which are not english or easy to pronounce is so common all around the world. And here in Sweden where I live at the moment they must be brain damaged.
When it comes to Andrews reflection on an art mafia. Well, I think that it is so obvious that those people who have power in art could be called an art mafia. Art market is a very special world like no other. Although it is all about money (or ***) at the end.
And if you are an emerging artist and do not speak the right 'art' language and do not know the rules, do not know the right people and have no money you will probably never succed even if you are a very talented in what you do. Unless you are young and beautiful, which always helps!

on Monday, December 19th, Duygu said

One sentence...
I agree

on Monday, December 19th, iglooo101 said

It is a fact of life, we will find the good guys and the other guys.But, I think, part of the current situation (Galleries not carrying work for unknown artists)is created by the public (i.e. the market).Artists, understand that Galleries will not carry work for unknown artists, because from economic point of view, unknown work will not sell like work for a known artist.How to get around that? you will find that some artists tend to band together and promote their work together (whether their band is based on gender or region).Interesting topic.Hope more people can chip in.

on Monday, December 19th, Ed Baron said

Andrew: This is an excellent blog. Artists should do their own thing the best they can. The energy generated by art making seems to generate a lot of other things for which the artist should be delighted. Artists choose their own path where ever it takes them. Artists, working at their craft are a proud breed, set apart from the rest and willing to take chances to create images of the worlds of their vision, hopefully for a better world.

on Monday, December 19th, Ed Baron said

Andrew you are walking a tightrope about this because the thread is missing the point. Museums, galleries, collectors are all driven by one factor: money.

It so happens you have touched on the stories of individuals I have a personal knowledge of. Julian Schnabel is my nephew and his father was a wealthy Texas rag merchant who made a fortune selling rags to the oil industry.

The myth Julian created, the life style he chose and continues to choose happen because he could always afford to buy what he wanted: this gallery, that museum show, this art collector's trumped up price and subsequent tax break.

In a rare instance an art critique such as Barbara Rose, the daughter of my parent's best friends, fell in love with Abranakaweiz fiber sculpted backs, decided to adopt her as her very own discovery and artist and used her connections to produce major features in magazines. All the rest fell in place.

Every time a museum curator suggests a purchase it must be backed up by matching loans and funds with all the subsequent tax breaks in a line.

Galleries, art corporations such as Dia, you should look into what they are doing purchasing individual buildings and properties for the display of one artist's work, all conceived and sold a bill of goods by Donald Judd and find out where the money is going.

Art has a bottom line: Not decorative art, but the kind of property that investors are drawn to always has a base of available backup monies for which the players scramble, like so many fish in a pond sucking the mud at the bottom.

There has evolved since Warhol a new kind of artist. Yes, some talent is required, perception, vision, a sense of design and good composition, a salesman's mouth, a good base in art history to draw convincing analogies to seduce the investor nee art collector.

Art is a complicated business for the sensitive artist who requires, indeed must have, a business manager to take care of the bad mouths and the fat hands stuck in tight pockets. After all isn't art the one commodity no one really needs?

Art is a status symbol, especially when there is money being spent. The rich doyenne will invite her charity sisters to her house to see the Picasso's she has acquired, which are on loan to her from the museum she has already donated the pieces to. She would never expect the same admiration for the landscape over the couch with it's palette of greens that so perfectly match her sofa.

On every level there are gallerists and so on who get greedy and invest heavily in the work of an emerging artist in expectation of a demand being created a killing being made. This is one of the reasons the push is on to promote that artist, why you see the same artists in every show and included in museum exhibitions.

Don't give the Curators any due, they are merely pawns in the game of art being played on a very big board with a very big payoff for the ones who land on the right squares.

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12/19/2005: "Is there an ‘art mafia’?"