mocad in the news
Here is the link to an article in the Detroit Jewish News, in case you missed it buried in the comments in the previous mocad story -tires for mocad.
and to clear up the detroit mystery presence in the show, christopher fachini is a musician and will be in the opening show.
"Miro projects that the museum will include many arts disciplines, starting with a local musician as part of the debut show. She also hopes to have a bookstore with arts periodicals and a cafe where visitors can stop and discuss what they have seen and learned."
and to clear up the detroit mystery presence in the show, christopher fachini is a musician and will be in the opening show.
"Miro projects that the museum will include many arts disciplines, starting with a local musician as part of the debut show. She also hopes to have a bookstore with arts periodicals and a cafe where visitors can stop and discuss what they have seen and learned."
posted by art blogs are fun at 12:18 PM
8 Comments:
It doesnt say, but I guess during the party Alfred Taubman showed everyone how to cut a man's throat with a toothbrush and some dental floss, a little trick he learned in prison.
So Taubman is a crook...doesn't mean he's going to steal from people again...but I'd be careful.
Everyone kept their wallets in their front pocket.
Then around 8pm.
Someone said "I'd love some fruit salad" and Ole' Alf burst into tears. No idea why.
detroit's rep is music right now. so a musician is the perfect choice for this first show since detroit's visual artists aren't up to snuffy.
The party was hosted at the home of Julie and Bobby Taubman, not Alfred Taubman. However you may feel about it, it was generous of them to open their home in support of the arts. (And, in case you were wondering, selling/buying out of the studio and bypassing the dealers--that's stealing. How many crooks out there now?)
While Detroit has long been known for music, I disagree that Detroit's artists "aren't up to snuffy". There's some talent here and I look forward to finding out when work by Detroit artists will be presented.
quote...arts. (And, in case you were wondering, selling/buying out of the studio and bypassing the dealers--that's stealing. How many crooks out there now?)....unquote
Unless you have consignment agreements with the galleries you work with. This should be made clear. If this is the case then what you do in your own studio is your business. But how many artists around here have exclusive deals with just one gallery? I think this number is in the distinct minority.
who's talking about screwing the dealer? i am talking about the artist being a proactive business person, emphasis on 'business'.
it is understood that one's business should be consistent, meaning prices, so there can be no 'shopping around' to get the so-called 'better price'.
consignment agreements generally cover a specific number of works held for a specific length of time. When the time is over or the works are all sold, its time to reevaluate the contract.
an artist who has an exclusive relationship with a gallery should have a contract that outlines the perimeters of their relationship. It is agreed that any artist or gallerist who steps outside of the boundaries of this contract should face consequences.....ranging from ostrasization to legal ramifications. Exclusivity is a great idea, in theory. How many galleries around here are working exclusively for a specific set of artists? Can the other artists around here afford to wait for this? One would hope also that if an artist is working with more than one vendor, including opening their studio, that they make this fact aware to all they work with. If there is a problem with this from any one vendor, then they could decline to work with that artist.
the artist who works with several vendors needs to have their business shit together, meaning contracts with all and consistent prices. Geographic considerations should definitely be considered....you dont want to have your work in every space on every block. Common sense rules here.
I am not advocating 'screwing' dealers, but suggesting that artists see themselves not as the recipient of a gallery's largess, but as an equal partner in this business. After all, when there is a 50% commission, this implies equality.
The dialogue on art business is a great one, and should have its own thread!
Its one of the great things about our art world that the "handshake" relationship, based on trust, has been the historic way.
But having the "piece of paper" as a way of cementing this trust is required. Take it from someone who has been burned in the past, as a young artist. I wont go into all of the details, but work was lost for lack of a consignment/inventory list in one case, and in another case an exclusive contract tied me up for a length of time while the gallery did nothing for me during that time.
I should say that these were isolated incidences that have not reoccurred, but once burned twice shy.
Asking for a contract that outlines all responsibilities shouldnt upset anyone, dealer or artist, whether it is a consignment agreement or a document discussing degrees of exclusivity.
Young artists [and young gallery owners too!] should operate with a spirit of camraderie, but also have the paper to protect both sides.
Here are a couple of books that I refer to that have been helpful. There are lots more that can be found that discuss the artist/gallery relationship.
* Crawford, Tad. Legal Guide for the Visual Artist. New York: Allworth Press, 1994.
* Victoroff, Gregory T. The Visual Artist's Business and Legal Guide. Englewood Cliffs, NJ: Prentice Hall, 1995.
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