What role have the figures of art dealer, gallery owners, representatives, and intermediaries in general played in your career?
I would say 20/80 - I got good connections through some art dealers but most of my success is based on my own work of promoting myself, connecting people or meeting people in real life and introduce myself.
Hearing various artists talk to my classes or exhibitions I've gone to, give me hope as an artist and have also given me helpful ideas.
None of them have taken a role in my career.
My art career as been pretty short lived thus far in my life. So, the most influential people involved in my art career have been gallery representatives, jurors, professors, and my audience. My professors have inpsired me, directed me, and critiqued my work. They have forced me to think and grow. The gallery representatives and jurors have been the people of influence who decide whether or not my work is accepted to exhibitions. Lastly, and really most importantly, my audience is the most influential in my art career. I take the input that my audience gives to me and consider it when creating new work or altering existing work.
Honestly, not much of any yet. I am thinking of donating some of my jewelry and drawings to an art museum in Appleton, Wisconsin. I'm still starting out, so who knows what the future holds?
Until now ( dec. 2012) nothing much, in a way it is my own fault, I am prepared to work with them, but I am not looking for them, I believe they should find me (or not).
Non-profit arts organizations and artists run spaces/venues have played a much larger role in my creative practice than any commercial entity. Harvestworks, Free103Point9, Il Corral, The Wulf, Torrance Art Museum, Machine Project, Institute for Electronic Arts, Museumsquartier, TAV, Eastern Bloc, the Tank, 319 Scholes, NYSCA, Eyebeam, Rhizome.org, ((audience)), Outpost, Camera Club of New York, CHOASI, Monochrom, NYC Resistor and so many other Universities are among those supporting organizations and venues
So maybe I do drop names, but these people have helped me out in unimaginably important ways.
Fueled my fire cause they don't give young artist a chance. So I set out to prove them all wrong.
the gallery/dealer system has broken down to commodification and meaningless product distribution schema. It is terribly lamentable that the dialog of art has been all but eschewed completely in favor of some fetishized commodity conversation.
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