12/10/2007: "ART BASEL MIAMI BEACH 2007: THE REAL STORY"

This isn't the story that I had planned to tell about Art Basel Miami Beach 2007. It's the real story.

As I approached Exhibition Hall D outside the box office to buy my $65.00 permanent, four-day pass to the fair, I crossed paths with Miami Beach
artist Alfred Perez.

"Can I give you a card for my show?" he asked. "Sure," I said. He told me that his show was running from three until seven that evening. "I'll be there," I said. He was wearing a harness holding his paintings ... one on his chest, the other on his back. He also had a huge stack of postcards and was standing close to the exhibition hall, but he left a respectful distance that screamed he wasn't connected to the fair. In short, he wanted to take advantage of the opportunity to promote his work. Art Basel hadn't even opened yet and the moment that I saw Perez standing there handing out postcards for his show, I knew that I had the real story. More on that in a moment.

The weather couldn't have been better for what is now America's largest, flashiest indoor art fair. Not that it mattered, but it was a sunny, balmy 75-degrees outside. Perfect. Miami itself looked like a postcard. It was almost noon and I stood amid the crowd of hundreds of people just itching to get inside. I felt like one of those goofy groupies who wait outside a rock concert all night to maybe get a 15-second look at the star attractions as their stretch limousines zoom by.

At exactly noon, the guards opened the "velvet ropes." People poured into Art Basel Miami Beach 2007 like it was a Black Friday Christmas shopping bonanza. Oh, my bad, did you actually think you were going to get a great deal on Jean-Michel Basquiat's "The Dingoes That Park Their Brains With Their Gum"? It's a stunning 110" by 114" sky blue, kick-ass canvas piece that can be yours for $3.9 MILLION. That's how much Van De Weghe Fine Art wanted. I kicked myself for leaving my American Express card at home.

Another piece that blew me away was Eric Fischl's "Scenes From Late Paradise" series of five paintings. They are breathtaking, humongous images of everyday people on the beach. To me, they look like a fantastic cross between impressionism and (almost) photo-realism. They're all roughly 78" by 96" oil on linen. One of the Mary Boone Gallery guys told me that a private collector bought the entire series. How much? $2 million each.

Are you catching my drift here? Art Basel Miami Beach is NOT a poor collector's art fair. In fact, here are just a couple of the things that I overheard people say "The galleries from London are really hardcore!" one guy said. "(They said) 50K! If you don't like it, don't buy it!"

"She told me to stop spending all of her inheritance," I heard one woman say on her cellphone as she sauntered through the galleries. I'm not making this up. The woman was serious.

"Can you believe it? After all that, she backed out!" I heard an art dealer tell a colleague.

If you really want to have fun at Art Basel Miami Beach, watch the art dealers. They have on their best game faces, but you can tell they're absolutely on edge and sometimes they're pissed. I stood and watched one dealer pull out a large, framed c-print while a couple slowly mulled it over. The dealer stood there, showing the lovely work, with an exasperated expression on his face. At one point, he rolled his eyes.

Before this incident, I heard a male attendee actually say, "It's so much easier when someone tells you what to like! Ha! Ha! Ha!" This is what art dealers have to deal with. People don't know what they want. Many people just want to flip their art for a profit. Shame. I seem to recall someone telling me that dealers pay in the neighborhood of 30-grand (at least) just to be here. The cost of doing business is a bitch.

I toured Art Basel itself three different times. Once, by myself and at two other times, with two different artists. It was fun seeing the art through the eyes of Florida artist Deborah Bigeleisen (and her hilarious husband Marvin who is deeply disturbed by minimalism) and Chicago artist Bruce Noel Mortenson. The official photographer for Art Basel Miami Beach took several photos of Deborah and I admiring a Kenneth Noland piece. During my time with Bruce, I had to run outside to refill a parking meter. Even though I knew where he was, it took me at least ten minutes to find Bruce once I arrived back inside the fair. That's how BIG it is!

I have to admit, there wasn't much at Art Basel Miami Beach 2007 that really knocked me out. As a collector, I'm always looking for that one thing that makes me pee my pants. Not this time. The fair is a little too snooty anyway. Don't you love it when you get snubbed by someone who themselves can't afford whatever they're trying to sell you? What's with the attitude? You're fooling no one.

That's why I highly suggest some of the satellite fairs like Bridge, Flow and Red Dot. They're so much more accessible and fun. They take up actual space in some of the hotels' rooms along Collins Avenue and the dealers are nice and not at all uptight. At these satellite fairs, you actually feel like you're talking to real people who like art. The art is fresher, more exciting and much more affordable that's if you choose the "lay away" plan. Emerging artists rock. Institutionalized art is tiring. My new friend Dan Fear of Art-Collecting.com agrees. "The dealers are very accessible in the smaller fairs and I really like that. They're really open to talking anyone and everyone," he said. "Overall, I think the quality was very good and only occasionally did I enter a hotel room that didn't have a piece of art that interested me." It was great touring some of the fairs with Dan as well.

For future reference, you need to pick and choose which fairs you visit. There just isn't enough time to see them all in four days. I visited Art Now (their first time), Basel, Bridge, Flow, Ink, Pulse, Red Dot and Scope. The fair that excited me the most was (drum roll please) SCOPE. For me, everything there was fresh, progressive, hip, edgy, contemporary, insightful, cleverly slick and professional. I don't think that I saw anything there that I hated, which is amazing. Also, the dealers at Scope were nice AND the gallery floor plan didn't confuse me.

Here's another thing. A few of the satellite gallery people told me that because the number of fairs had doubled from last year to roughly 25 this year, their traffic was diluted. One female dealer said, "We're doing a lot of emailing and j-pegging this year." Hopefully, this won't force organizers to scale down the event next year. Art lovers everywhere should witness this spectacular. You may recall that I coined the phrase, "The Superbowl of Art," two years ago. This year, it truly lived up to my title ... in terms of scale anyway.

Which brings me back to Alfred Perez (www.alfredperez.org). He's an outsider artist in the most literal sense. He was literally on the street trying to promote his work. This is the real story. This is what contemporary art is all about. I visited his studio briefly and saw his work, which is absolutely fantastic. I have no agenda other than to help a struggling artist. What was it like for him outside that exhibition hall?

"I honestly did not know how Art Basel officials would react. After about the first 15 minutes, I was turned away from the front entrance ..." Perez said. "I was very happy to be there taking all this in. I couldn't help but think of the many well heeled people passing me by with not even a glance in my direction. My comfort came with the realization that if I were Jean-Michel Basquiat or Andy Warhol in their formative years wearing this harness and exhibiting their pieces for all to see, the Prada contingent would still pass them by in the same fashion. In my mind, they seek out art in the same way they seek only designer labels and if it doesn't sell for hundreds of thousands or millions of dollars, it's not art to them. That said, I hate to generalize, and there were some of the same faction who were open and showed interest in what I was doing, although few and far between."

Art Basel Miami Beach is a fantastic event that has an even brighter future. We should support all art venues. As for Perez, he plans to keep pounding the pavement. Few big collectors saw him, but he was one of the stars of the entire week. Which makes one wonder ... is the art world really doing its job if all of its talented artists don't have venues? That's the real story of Art Basel Miami Beach 2007.

MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF "ART IN KING SIZE BEDS: A COLLECTOR'S JOURNAL." CHECK IT OUT AT WWW.ARTINKINGSIZEBEDS.COM

Replies: 26 Comments

on Saturday, December 15th, BradMM said

In all my life, I've had but one art consultant represent me, and I made more money in that one year than most of the rest put together. She did her homework and found me. She, like my massage therapist, married into money and retired to have babies never to return to the old work again. If I were an art consultant looking to make money, I'd find my artists to represent after I established my base client�le so we could have the understanding, that often, art is chosen as much to match the carpet color, and less seldom as a collector's item with a final eye towards its investment aspect. Corporate purchasing is what I primarily refer to here - some are more savvy than others, but few carry the imagination to develop stout collections. Those who do are well known. Those who don't - a bronze Remington will do... I like the art consultant who plays the match maker - you tell them what you want - and they go and find it. More fun - that gig, like treasure hunting. Still, I am sure there are consultants out there seasoned well enough to only deal with art collectors concerned with their investments - those buyers who can express a knowledge for their own particular kind of zeal in collecting. Other consultants, who are more specialized in the mediums they choose to parlay, find most of the artists represented in their portfolio versus those artists finding them. Consultants are gallerists without brick and mortar overhead, and have quite the social knack. They also likely love the idea of going to Miami! I am certainly not opposed to doing what Alfred Perez did - the best minerals in gem shows are usually found in a van parked out in the alley, or in someone's motel room a few blocks now the strip from the main attraction. Networking, knowledge skills, and social flexibility are the art seller's strongest allies. Feel free to pick up the phone and call me if your client wants to entertain an aging half-bald digital renderer in Tahiti - that's more my style than Miami or Dubai...

on Saturday, December 15th, Tom Elliott said

I knew I was not even going to try and go to any of shows on the beach.
I did try and see the photo show in the art district of Miami and did not see because of the, even though low, $15 admission fee.
Pay an artist to see work he/she wants to sell???
The Grove Art show also charges admission.
Would you pay admission fees to go to Macys???
Nice try and possibly the trend now, but I just don't get it. The beach shows yea, let those "swells with attitude" pay, they deserve it.

on Friday, December 14th, Ol_ga said

So bm was not you, Brad? I was sure that it was you:)

on Friday, December 14th, Andrew said

Ok, Brad, so it wasn't you...but if you click on that 'bm' it takes you to a list of art consultants...what a find!

on Friday, December 14th, BradMM said

Who are you guys referring to when you speak to, "Brad?" Just curious...

on Thursday, December 13th, Andrew said

Brad, I can't. The company has asked me to find them artists for specific locations, but for me to create a way for artists they're not actively seeking to contact them through the internet, they might not like that. I do what I can when I can. It's important for me to recognize what my limits are, and keep this link open. That's also why I didn't mention any client company names.

on Thursday, December 13th, Olga said

Brad, Some big companies in Europe (mabe here too) hold competitions for artists to be published in their annual reports that are widely distributed in the business world. This year I am participating in one with the help of gallerist who kindly agreed to represent me. Chances for me are low anyway, but if do not attempt, nothing happen. Right?

on Thursday, December 13th, bm said

Andrew sums up the point about the business of a big fair "Once you swallow that concept (costs), then you can find the aesthetic value in a show like this." Well put.

Andrew, could you enlighten us about this art consulting company i.e. name, contact person, etc. please.

on Thursday, December 13th, bm said

on Wednesday, December 12th, Ol_ga said

Andrew, You are absolutely right about listing... You are very smart! Probably you know that:)

on Wednesday, December 12th, Mark said

As I said, it is all, BIG BUSINESS.

Maybe Alfred has it right, not to intrude or steal your idea Alfred, but maybe we should all stand outside wearing our art. A protest against big business, and greed, and a boost to the little guy. Let the people know that we artist are human and approachable, and that art is not a scary thing.

on Wednesday, December 12th, Andrew said

Thirty thousand for a booth. How many booths? Five hundred or more. That's 15 million dollars or more for less than a week. There's a lot of costs to be taken away from that, mostly for the advertising. But there's still a hefty sum left over.
This is what the organizers were thinking about. Not the art.
Once you swallow that concept, then you can find the aesthetic value in a show like this. It's there. Galleries from all over the world, with probably twenty times their number in artists themselves. I mentioned before that I was approached by several, who promised to include me with their artists, for a fee. Shipment to the States included, as long as I paid to get my work to their gallery.
I bailed because I felt they wouldn't push my work as hard, if at all, as they'd push the work of their regulars. I realized the only reason I'd be there was to offset their booth fees. They didn't want to see my work beforehand, to judge how good it was. That's a big, fat, red flag.
Now outsider art, literally speaking in this case, is more interesting to me because it's accessible and doesn't have too much pretentiousness surrounding it. It is also what my most recent art consultant experience told me collection builders are seeking. Why? Because there's no gallery add-on. The expense associated with promoting art has become so exhorbitant that proffesionals in the field are trying to find artists without gallery contracts. This is a new phenomenon.
The collection I helped put together went to the Rome office of a large multinational credit card company you've all heard of. They did all their offices, worldwide, and not a single artist had to give a dime to a gallery. Any that did, were refused. Each office used the works of about ten artists, all working in the country where the office was. One art consulting company did all the offices. Their next project is for the offices of a major oil company, and the same rules apply.
Try to get your work listed through art consulting firms. It's a new world out there. Art Basel? I think it's a longshot, and your energy should be spent mostly in other directions. Don't go fishing in a one mile trout stream with a thousand other fishermen

on Wednesday, December 12th, jose said

Alfred you're 'the living thing' behind Michael's blog and it was great to check for comments this morning and seeing you had joined in the debate. Encouraging as you say the experience was for you and independently of whatever sales you made or failed to make I would say that the inspiring thing for me was your stance. Most of the time I mumble and grumble about art fairs and art-politics but do nothing about it but hide in my shell when they come to town. I wasn't joking when I said that the next time I'll be copying you. Congratulations.

on Wednesday, December 12th, Mark said

Alfred,
Thanks for the kind words about my work. I found your work to be quite inspired and was fasinated by the demensionality of the paint. As for Michael's not responding to comments, only he can answer why and it is a discussion that needs go no further.

Yes the children are great, if only we could think, be, like kids when we work, just how wonderful would our paintings be. I do not know if it is us (adults), society or just a natural progression of life that prevents us from staying that way, but what a shame. As for the 7 year old, good for his parents to foster his interest, he may be competion for us one day, I hope so.

on Wednesday, December 12th, Alfred Perez said

Mark, I too am sorry, and digress on the bitterness line, since your clarification below and when I saw your artwork online (doesn't look like the work of a bitter person) I enjoyed it. That said, I still say Michael must have his reasons for not responding.

In terms of the fair, I found it encouraging to see so many kids (and there were a lot of them) attending with their families. One youngster (about 7) came up to me and egged me on for about 5 minutes, asking questions about my work and his approval of it. He had a notebook in hand with beautiful colored sketches, that I suspect he was going to show inside to dealers. This kid was a character, and well beyond his years. That gave me the strength to go back the next day and do my shtick.

on Wednesday, December 12th, Mark said

Alfred, bm, I am not bitter and if my written words sounded that way then I am sorry.

Alfred, I did not say I had never been to one, I said I did not attend the one in Boston. I still say they are all show and no go, as the only point to the big fairs such as Art Basel is to promote already well know artists (for the most part). And Michael did say in his blog that, "I have no agenda other then to help a struggling artist." So again, I ask, then why go to Art Basel to do so? Can he better promote the artists at Art basel then those dealers and artists in the show? If so maybe he and I should talk, LOL. I think it wonderful that he found you on the street and that he was kind to you. Michael may very well be a good person, I do not dispute that as I do not know him. BUT, I do get a bit irritated when people write thier blogs but do not have the curtsey to respond to the comments made. If he does not wish to do so he should close the blog to comments, that is all (I base this on the history of his past blogs).

My issue with these "big business" shows is that they are all hype, they are there to let the un-artistic feal artsy. Sure they are exciting and glamerous and there may be important and famous people there, but it does little to help promote art to the general uneducated public (that portion of the public artist need) as most would be afraid to attend such an event. It only continues to give those that think they know something of art a place to show off. Many of the artists being shown generally do not even need that kind of exposure (as they are already well known) unlike you or me who struggle to continue doing what we do.

I do not think that such shows should not happen, let them continue. What I am saying is that dealers, galleries and artist need to do more to bring the uneducated, common public into the fold rather then scaring them away with artistic hype as these types of shows often do.

on Wednesday, December 12th, bmm said

Gee bm, Art Basel Miami Beach 2007 sounds like a place GWBush would send Laura to find something for her sewing room. Otherwise, This story - with its two opposing elements, could have been redrafted several more times for better clarity.

on Wednesday, December 12th, bm said

Geez Mark, are you bitter about something?

on Tuesday, December 11th, Alfred Perez said

Mark,

I'm dumfounded by your rant below. For one, you speak of your distaste for large fairs, yet you attest to the fact that you've never been to one. I myself can not speak for Michael, but I would imagine that he does not respond to these comments, since they would most likely take the better time of his day, considering the tone in some of them (the back and forth would clog up this page).

That said, I did meet this gentleman (Michael Corbin) which you address, and he does not deserve the bitterness below. For one, friends of mine past me by on the street those days in front of Art Basel, underneath the blaring sun, and not one of them thought to call me from Starbucks (like Michael did) to ask if I was in need of water or anything that might come to mind elsewhere. Secondly, Michael did not say that he went to Art Basel to help out an "emerging artist", you did. He was walking into Art Basel, and chanced upon the lone artist, that for 3 days stood outside (roadside) with harness and paintings in tow, trying to get a semblance of the attention given to those artists inside the convention center. Did you read the first line in his story?

I myself could not imagine flying down to Miami for the Art Basel Miami Beach juggernaut, and not go to Art Basel!

on Tuesday, December 11th, duran said

I found some really cool things at Scope- some highlights were the recycled tire sculptures, the sign-language skateboards and drawings by Kyle Trowbridge and a wonderful Hernan Bas painting.

on Tuesday, December 11th, Ellen said

How wonderful that you could bring Art Basel Miami to us, Michael! I can really visualize it through your blog! I am a goer of fairs, carnevals, shows. I love the "action." Sounds just great & thanks for the tip about the satellite fairs. Perez is my hero because if I don't promote myself, who will?

on Monday, December 10th, Mark said

A bright future, well how nice for Art Basel. I am with you Jose, not a fan of the fairs, been in one in Boston a few years ago, I did not attend, a dealer of mine did, did not realy work out. That is OK because I have a mistrust for these large flashy fairs (I am not talking ot those fairs where the artist sits in a hot sun tring to sell thier work). Why? Easy. Big business. Just that simple. When big business gets involved it distorts and twists things from what realy matters to only money. People go to boost thier egos (artists and non-artists, dealers as well).

I know that Michael does not usualy respond to the comments here (not sure why, maybe he doesn't read them maybe he is afraid, maybe he is to good to) but I have a question for you Michael, if you wish to respond. If your goal, Michael, was to help an "emerging artist", why go to Art Basel, who there would need your help? Are you such a well known and powerful collector that your influences trump the international dealers attending, are you that rich? What Michael, what?

Big business.

on Monday, December 10th, Odette Farrell said

Hello Michael,

You wrote that almost no art at this fair catched your attention...so why do you think it will have a brighter future?

on Monday, December 10th, Debra Cortese said

I never made it to the main exhibition. Attended the AJJapour Gallery Champagne and Dessert reception, then off to the marina to see the floating gallery, SeaFair, a four story yacht with the feel of a museum collection. Fabulous sculpture, paintings, antiquities, from ancient to contemporary. A new experience, swaying with the wake while gazing at art... hadn't even touched a drink so knew it was the water.
Next year, I'm taking the week off and getting an early start every day!

on Monday, December 10th, jose said

Michael, this is one of my favourites of yours in a long while. I'm not a great fan of art fairs as you know by now, but your account of this one grabbed my attention untill the very end. Next time there's an art show in town I'm doing a 'Perez'.

on Monday, December 10th, Hermes Hernandez said

Art Basel Miami Beach is a fantastic event that has an even brighter future,What future.....
MONEY ???Yes Just Money...
At the And Money count,not Art Paitings.!!!

Very Good and real Journal.
Hermes Hernandez
New York
Artist Painting

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12/10/2007: "ART BASEL MIAMI BEACH 2007: THE REAL STORY"