Friday, June 02, 2006

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."


Anonymous Anonymous said...

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.

1:06 PM  
Anonymous Anonymous said...

So Taubman is a crook...doesn't mean he's going to steal from people again...but I'd be careful.

4:03 PM  
Anonymous Anonymous said...

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.

5:52 PM  
Anonymous Anonymous said...

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.

7:42 PM  
Anonymous Anonymous said...

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.

8:45 AM  
Anonymous Anonymous said...

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.

4:18 PM  
Blogger detart said...

Not so, Superba. Pretty much any serious for-profit dealer/gallerist who is committing to showing an artist's work (even in a group show) or representing an artist expects that that artist understands it is a geographically exclusive relationship, if even on a temporary basis. This is not always an agreement that is put into writing, but an understanding between an artist behaving in a professional manner and a dealer behaving in a professional manner.

Many collectors, knowing an artist is represented by a gallery, who try to buy out of the studio anyway know they are breaking the "rules" but don't care because they are hoping to get a deal. They may piss off the dealers for a short while but won't pay the ultimate price--the dealer needs the client more than the dealer needs the artist. (More of latter out there than the former.)

Any artist who is naive or greedy enough to screw their dealer should know that dealers almost always find out, never forget, and often share this information with other dealers.

Talk about getting black-balled from the gallery community...nationally...plenty of artists have destroyed their careers this way.

8:21 PM  
Anonymous Anonymous said...

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 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.

11:24 PM  
Blogger detart said...

Yes, artists should be professional and dealers should be professional. I think you might be shocked, however, to learn how few dealers and artists have written contracts. This is, historically, a business of relationships and trust.

While I agree with much of what you say, I'm also afraid some younger artists may not pick up on some of the details and make bad choices.

So--A consignment agreement covers, yes, a limited number of works given to the dealer for a specific period of time with specific terms. This is a pretty clear-cut situation when that dealer is in a different region than the artist. A dealer choosing to show the work of a "local" artist, however, generally will expect that this artist is not also opening the studio to collectors or choosing to exhibit works with another dealer in town, or within a certain radius. Want to show in Detroit, Chicago and New York? Fine. Want to show in Birmingham, Ferndale and Detroit? Not. At least, not without clearing it first with your dealer. This is a game best played cards face-up on the table. You may not think this is fair--but then again, most dealers have limited wall space and storage. It's bad business for them to take up space with works that are readily available elsewhere (unless they are somehow making a cut off all those other venues). (Gallerists aren't always the best business people but most are pretty strong on this point.)

Artists--if you're not sure, ASK!!! Dealers will often mistakenly assume artists operating in a seemingly professional manner know all the unspoken "rules" of the biz. Making the wrong assumption is a quick way to shorten your career, or at least your run with any (or every) gallery in town.

And, just because a consignment agreement says it's a 50/50 split doesn't mean the dealer gets half. Dealers usually eat a lot discounts, etc. before they even get to start deducting expenses from their share. If anyone could make money in this business there would be a lot more galleries....Then again, there aren't a lot of rich artists, either. Must be some other reason(s) people get into this...

A proactive artist and a proactive dealer make an unbeatable combo, each supporting the other's efforts. Now, there's a beautiful thing.

11:27 AM  
Anonymous Anonymous said...

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.

6:05 AM  

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