I’ve been obsessed lately with the cross-over metaphor of the 1% / 99% within our political/social arena to the art world.
I’ve also had some push back from artists who get the impression that, in offering this frame of reference, it implies I’m advocating for upward mobility for the 99%.
Definitely not. Besides you can’t squeeze 100% into 1% no matter how much you might want to.
Much like the frame of reference around gender in the last post, I can’t help but feel there’s gold in them thar hills when we understand more, rather than less, about how the reality around us is actually working.
I’ve been immersing myself in a stack of books: The $12 Million Stuffed Shark by Don Thompson, The Girl With The Gallery by Lindsay Pollack, Contemporary Art by Julian Stallabrass, Corporate Art Collections by Charlotte Appleyard and James Salzmann (and about 4 more I’m too lazy to get up and go look at the exact titles).
Without exception, these deal in what I’m loosely calling the 1% of the art world: auction house, high-end galleries/dealers, the Big Collectors, artists who might have once been in the 99%, but are soon catapulted into the 1% arena with a combination of sales, personality, pure talent, and most likely also a man.
The only exception to this is our heroine in The Girl With The Gallery by Lindsay Pollack, Edith Halpert. Until Ms. Pollack (current Editor-in-Chief of Art in America) unearthed Edith, she was all but dead to…
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