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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