Chapter 6: Studio Visit
Critic: critique or question the work within the confines of art history and the contemporary art world in written articles, typically after viewing work from an exhibition
Museum Director: put aside institutional prerogatives and bend the will of the museum to accommodate the artist’s vision (There is no one MOCA way)
Patron: pretty much anyone in the mix that donates large quantities of money toward the planning, creation, transportation, display of artwork. This includes contributing/participating in galas, etc.
Gallerists: promoting and selling work
Artist: to create the work and facilitate discussion and direction regarding the relationship of one work to another, and giving some insight into how the work might be displayed – enough information for the curator to use as a spring point for creative use of exhibition space
Curator: take all the elements of the artist and the work and compile it together into a coherent exhibition; they don’t so much “validate” artists as “illuminate” them
Dealers: keeping track of the evolution of an artists work; contributing transport and funding; advertising the work from a commercial standpoint
As was discussed in class, I typically have a strange reaction to the factory system, but unlike Warhol, Murakami’s attitude toward promoting artists from within is both clever and ethical. Being that the purpose behind his work is production and that his main objective is to get as much work out into the world, I can fully understand why he works the way he does. I hold onto my personal ideal of creating work that I myself an capable of handling. Or in the sense of a larger project, I see it as collaborative and I would want to credit the other artists involved. Although, I’ve never really been in a position to consider assistants as far as time and scale.
I think probably the most interesting thing about this chapter for me was simply the demystifying of the situation. It is revealed as just normal people and a hard-working artist. The people involved seemed decently down to earth and interested in the art.
For a studio visit, I would probably hang work on the walls as it would be typically installed and speak physically moving in the space, as I typically do when I talk about my work. It’s good advice to not let the space you have to work with be an issue in accommodating a studio visit. Overall, I’m looking forward to reading more hints and inner workings of the art world.
All content sighted is derived from Seven Days in the Art World by Sarah Thornton