I also suggest this .
Yesterday , trying to find reasons for freezing the forum (I did not open all day ), I got on Facebook and there I read an interview with Christina Shteynbreher a new exhibition policy CHA. Christina is now - the art director of some of its parts. What she said seemed to me sensible ... There is opinion? Maybe someone will say more.
According to her, it turns out that " there somewhere " decided to attend to the artists - traditionalists , it is called , that is, realistic sense of professional and former education ... " Be Like the workshops ," as she put it ... Search for this relic , so to speak ...
In St. Petersburg it too seems to have begun until the dull ....
I understand that it was clear that we must look for artists who can sell. Understandable form and good quality.

This in my opinion is an old interview?

But maybe there are new opinions?
The results, for example, if they were ...

Well, and what results should be?

Like what?
The results of campaigns for the workshops.

That is the same:

A. .. Duc , everything has already been found <! - ~ 7 ~ ->

I remember how I was looking for some crazy Mordovia artist. Professional and, in principle , a good Saranskaya artist presented it as a Van Gogh. It turned out that he had died a few years ago ( burned or something like that ) , but the conclusions I have made as a result of the trip .

K-Maler, the only action implemented by the new art dtrektora CHA , I know - an exhibition of photos such as Mordovia young photographers in the lobby of the CHA .
What do you mean , like the workshops ? go to exhibitions of the same MOSKh ... or think that there is some unknown reservoir of professional artists in Moscow ?

Seriy, it is common practice in the curatorial environment ..... ( to meet and get acquainted with the work of the artist in his studio ...)

Unknown reservoir of professional artists is huge and open it can only be done by visiting the workshops . Many members of the Moscow Union have already died and their workshops zanemayut children and grandchildren as well as artists. Many of the artists do not want or can not stand either side of Svoge creativity, and it is very interesting. I had a lot of discoveries on the subject and observe the state of art exhibitions on the life only means not often see the most important reason of all this , Aizberg . Artist truly can be opened or closed only in the studio.

Disadvantageous to show the artist studio gallery owner. Often, for each picture - some pictures. And when they see all of the middle class will not take to implement . There are serious conflicts .

Artoil-A, it is not on the gallery owners and not the implementation.
<! - ~ 1 ~ ->

I remember the story of an artist ... I was introduced to him, I became acquainted with his works, but to decide on a purchase could not when we first met - was too specific paintings, unusual. Nevertheless, I came to him a second time, again viewing - and again a screeching halt. The third time when I was no longer convenient for its spent my time in response to his kindness and hospitality, I chose a job, paid and took it. Purchase immediately changes the attitude of the artist in person. The next time I have felt to-L embarrassment, well, went on with him "to establish contact."

After some time, this work has appeared on several shows, and she immediately became interested. The work that I did not want to sell, so come to the artist, asked to restore the work (the transport of the dog jumped on her and bit her nails scratched <! - ~ 7 ~ ->), and in addition, asked if he could not draw a repeat this work. The artist refused, he basically did not do repeats from their work.

Some time later I came to take away the work restored. The artist began what is called the "crease". And asked me to replace any other. "Excuse me, I only need this" - I politely declined. In general, I took the job ... The next time you use this it suddenly occurred to the work of love, I again asked him to repeat, thinking he agreed. Repetition was not bad, but did not reach the original. It was evident including and the author. Well, all right, but it was a repeat and it could sell <! - ~ 7 ~ ->

After a while I began to prepare to send work to an exhibition in London, and invited him to include this work in the exhibition. He agreed and I sent along with other work. At the exhibition, this work (repeat) liked living in London, a wealthy Hindu, and he was ready to buy it, but his lack of embarrass signature. He did not want to purchase the work without a signature. I phoned the gallery owner, and all reported. As he thought it was necessary to send the artist work in Russia, so he signed it, and then back to London <! - ~ 7 ~ -> But the lack of signature on the front side was not accidental. According to the artist - signed affect the composition, and therefore he did not set it, and the corresponding but the question of whether to sign it, could not go. Moreover, after learning that her wish to buy, he demanded it back, and I had great difficulty to persuade him, citing his own consent to the sale ... We agreed that he had to put a signature will not, and if the client decides not to buy it without a signature - the good, the work comes back to the shop <! - ~ 7 ~ ->

All this I gave a gallery owner, and it is - the client. As a result, the client got the job, I paid the artist. Just blazed the crisis, the money he needed, and this softened his memories of the ... <! - ~ 7 ~ ->

So, the outcome of the story so ... On subsequent visits it became apparent that when I show the work and ask about the price - that the artist thinks quickly whether to sell me the job or not (not for nothing that she interested me!), And is not sure when - usually refuses. Or it can accept, and then after an hour - change your mind, etc. <! - ~ 7 ~ ->

Therefore, artist studio gallery owner to show benefit, it is the most efficient format for professional communication, but of course it is not said about the commercial artists.

artcol, "I do not believe my ears!"

The first time I hear that work have bought without a signature (with or without an identification mark) ..

(I sat slack jawed amazement from the deep)

And what's this?
Did the work of Malevich is the signature on the front side?
And nothing, buy <! - ~ 7 ~ ->

During gathered information on the cost of "claims of Artists", dating back to Impressionism.

Just counted in silver, the benefit was formed the Latin Monetary Union, and immediately appeared interesting analogy:
For example, important paintings Mans in 1872 actively bought for $ 5000, the amount corresponding to the rating, the "artist-high-class professional, recognized and sought after art market and the public" that, in general, and with its position in the artistic circles of the time.
This maloudachnaya Commercial purchases showed that buyers are willing to pay more.
Although these paintings purchased for resale, the price of his paintings then ranged from $ 1500 to $ 10000.

At the same time, Monet, advertised itself started to get from 3500 to 5000 - "A professional artist, recognized and sought after art market and the public," and Pissarro-1800 "held a professional artist, art demanded by the market."
Apparently, at that time it was the maximum amounts that were obtained. Such as Pissarro, subsequently sold his work for 1000.
Before that, as a result of promotion, his work was sold by auction in 3000, which was considered an incredible udachey.No without repetition.

And what about the very young and completely unknown artists? Van Gogh wrote that traders are buying second-rate work of young for $ 200, and that he is happy and that. Likely to resell, "an artist with creativity (unknown) - $ 600."

And it was in Paris ...

Thought about this lesson of history, and came to the conclusion that the prices quoted on the rating categories in the first post of topics, should be considered as maximum. With quite possible discount up to 40%(the sum of "-" 40%).