Art dealing is when you're doing it as a business.
As the generalization goes about the art industry, people can be really challenging and thought-provoking in their thinking and questioning the status quo, and it's really important that the status quo can be questioned and that there are people doing that.
All my success belongs to those who have contributed in my pursuit of art, ranging from writers and directors to makeup artists, lighting crew, etc.
Really, my biggest risk was just the initial step to quit my day job to do music. I was packaging and shipping for an art gallery in Manhattan; I went to school for painting, so I always wanted to work around artwork, even though I wasn't really contributing anything to the scene.
I know, as an actor, you have to negotiate, but I can't handle the whole idea that art and commerce are synonymous. It drives me nuts.
Every Iranian artist dreams of the black market. We don't care about making money.
I never expected to sell my art. It wasn't like today where you come out of art school and they promise you a future. Now it's almost regulated in a way. When we came out of school, we just wanted to make art that'd blow your hair back and do it for sport. There was no commercial possibility that we saw.
I went to UCLA and studied studio art. I thought I was going to be a gallery painter, photographer, or ceramicist. Then, when I graduated, that didn't happen immediately. I didn't suddenly get solo shows in Chelsea, and I realized that is actually kind of difficult to break into.
I think art maybe has just become very consumer-oriented, and maybe it's always been that way because it is a business.
I'm finding that I'm working with more and more Latino artists, and that's exciting.
I see racism as institutional: the rules are different for me because I'm black. It's not necessarily someone's specific attitude against me; it's just the fact that I, as a black man, have a much harder time making an art-house movie and getting it released than a white person does about their very white point of view. That's racism.
The art world is a jungle echoing to the calls of vicious jealousies and ruthless combat between dealers and collectors; but I have been walking in the jungles of business all my life, and fighting tooth and nail for pictures comes as a form of relaxation to me.
I think that still, for the most part, even in 2010, the vast majority of museum shows and gallery shows and gallerists are pretty much dominated by men. So having a sense of what women are up to, for me, frankly, is very, very important.
Behind every big artist, there's a big team.
Cultural tourism surveys consistently rate San Francisco's art industry as a core reason for visiting.
I see around 100 shows a month, going from Niketown-size palaces where you feel like yelling, to storefronts in Bushwick. Each has to pay the bills; keep artists happy; and cope with collectors (oy!), curators (ay-yi-yi), critics (woo-hoo!), and occasionally plumbers. That their fiscal life often hangs in the balance only adds to the energy.
I don't want artists to find themselves in a situation where there are only two buyers. That just doesn't seem like a good outcome.
It's a mystery to me the way that contemporary art galleries function.
As New York careens toward the modernity of the twentieth century when Gibson girls were transforming themselves into working women, Clara Driscoll enters the male field of stained glass artistry and builds a lively, multi-national, multi-class women's department within Tiffany Studios.
If you're someone who's making film or TV or music, or any kind of art form now, there's a billion outlets and they all have an opinion.
The world of fashion. I'm interested in the world, not in fashion! But, maybe I was too quick to put down fashion. Why not look at it without prejudice? Why not examine it like any other industry, like the movies for example?
Now there is a big turnover in the galleries. The top galleries are getting better all the time. A lot of galleries just struggle along, then a new one comes along. There are certainly a great number of galleries. I think this argues well for the art but there are, of course, a lot of "phonies" in all the arts.
I would like to think that an artist's mental health is taken into consideration more now.
The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have any real say. When you go to an Art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires
There's been million-seller books and million-seller CDs. But there hasn't been, until now, million-seller art.
