Monkdogz Artblog

In the last few weeks, five friends have told me of situations where they’ve been let down by galleries, museums and art dealers. Several of them are desperately trying to get their work returned to them after exhibitions that occurred months ago. Others are trying to deal with un-kept promises and commitments.

In this environment when each sale is so hard and when it happens well earned, the last thing any of us needs is the added aggravation of people trying to take advantage or at worst stealing from us.

The sad thing is that in today’s environment you have to look after yourself and your art. The phrase “artist beware” is an unfortunate truism. There are several things that you can and should do, despite the extra effort that it will take.

Make sure you keep all correspondence and any telephone calls should be logged and annotated. If you’re really good, telephone conversations should be backed up by a letter or email.

Ensure that whoever takes responsibility for your artwork gives you a loan form or similar to cover their responsibilities and commitment as well as laying out your responsibilities. What is the insurance coverage? Who pays for delivery and shipping? Which pieces exactly will they be responsible for? What marketing and exhibition commitments are being offered? What happens when the work is sold? Who owns the copyright? What commission is deducted? How will the money be transferred? If they don’t give you one, write one yourself and ask them to sign and return it. If necessary enclose a stamped self-addressed enveloped so that they can’t find an excuse to return it.

Make sure that you do your research on the dealer, museum or gallery. Talk to as many people who have been involved with them before as possible. Contact an organization such as the Better Business Bureau to see if there are any complaints logged about them.

Much of this seems like common sense, but it’s amazing how many of us don’t do it. We hope that we can trust everyone to act on their integrity, but sometimes we can’t, so take care and protect yourselves.

And if there’s that occasion when you do come a cropper and find yourself caught up in a difficult position, ask for help. Friends are always out there to support you.

Every two years, the Venice Biennale in Italy and Art Basel in Switzerland overlap. There are fundamental differences between the two but in many ways they are symbiotic.

Fundamentally, the Venice Biennale, called by many the “Olympics” of the art world, is an exhibition purportedly of the best artists from the participating countries; 77 this year. It is billed as an art exhibition and little is said to dissuade people of the notion that it is unsullied by commercial considerations. Curated this year by an academic, Daniel Birnbaum, a darling of the art world, it continues to aim for an esoteric status. Many artists are encouraged to prepare work especially created for the Biennale. It allows room for of experimental works and often installations which may not have commercial sale values but could be significant in the development of art….or on the other hand not!

However the circus that the Biennale has become in recent years, results in major ‘horse-trading’ occurring around the periphery of the official exhibitions. Dealers, curators, collectors, museums and philanthropists all congregate well before the official opening of the exhibition and through out much of the first week to buy and sell many of the works that are on display; often in private meetings and parties, resulting in complete exhibitions being sold out before they are even seen by the general public.

On the other hand Art Basel is acknowledged by many as the premier modern and contemporary art fair in the world. 300 dealers and galleries from around the world bring works for sale of over 2500 international artists. Last year the organizers recorded over 60,000 attendees over the 5 day fair. Previous years have seen undignified scrums by well-heeled patrons, rushing to get the best deals first. The economic downturn put an end to that sort of behavior last June but everyone will be anxiously waiting to see what sort of behavior will be exhibited this year.

It is acknowledged that being invited to exhibit at the Venice Biennale can significantly boost an artist’s career and pricing. Many buyers who visit Basel will be doing so after having spent several days in Venice. Will they be in a buying mood this year, will pricing be further depressed, or will there be signs of recovery. Will the significant excitement generated by the Biennale spill over into Basel? We can only wait with bated breath!

Alexandra Peers in the New York Magazine starts by saying the new mantra about town may be “Don’t trust anyone under 50”.  Sotheby’s and Christie’s have only 6 artists under 50 in their auctions this week.  Phillips de Pury isn’t much better with a show fronting Baldessari, Judd and Guston. 

So what’s the deal….all those dealers, gallerists, curators and collectors who swore by Murakami, Hurst, Koons, Cecily Brown, Dana Schutz, Zhang Xiaogang and Fang Lijun? Do they think these artists now smell?  Do they have something stuck between their teeth?  What a fickle market?  What about all that “stand by your (wo)man thing?

I can only shake my head and wonder.