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23.03.2011, 02:25 | Язык оригинала: Русский #1 |
Новичок
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Be a dealer.
Friends, the interview that I bring to you, took place almost 37 years ago. Although since then many things are somewhat modified, but in terms of understanding the psychology of relationships dealer-artist, suggested struck me as a classic and standing outside of time.
In addition, it is interesting to learn from professionals how much the model of the dealer 70-ies different from today's model. *** Calling himself "an art dealer, a popular Los andzhelevsky dealer Nicholas Wilder, spoke at an informal meeting before the students of art academies, and other lovers of the art world. - How important is professional education for an artist? - First and foremost it is important for its own stability and support in a professional environment. This makes it possible to communicate with reputable colleagues, professors of art academies. The artist creates his works in close proximity to those who can really evaluate its potential and help him develop. - Do you think that the dealership contract with an artist means some kind of framework, beyond which the artist can not? - The dealer can not force the artist to do anything under pressure. I can only offer to sign a contract, and the artist is free to accept or reject my suggestions. But so far everything that I proposed, passed only benefit the development of artists and their careers. This is when we're talking about took place of the creator. If artists start, I completely take responsibility for its future and, therefore, conclude an exclusive for some time. Later, I allow my artists to participate in exhibitions of other galleries, if they are outside of Los Angeles, for example, in San Francisco, and not asking for a commission as long as the artist himself does not propose to discuss the new terms.
Читать дальше...
- Source http://www.abstract-art.com/abstract...ealer, 74.html |
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31.03.2011, 11:21 | Язык оригинала: Русский #3 |
Гуру
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Yes , very good .
And tells how to actually work a gallery owner in the U.S. , he buys the paper. Plus leading artists , puts them at a regular basis. On the commission are only beginning to gallerists , EM exhibit , sell , have a commission , gallery owners collect larger permanent work of new artists and live on the growth of their value. In every gallery in addition to the exhibition hall is the repository , in which hundreds of purchased works . Sell something at home, something sent to auctions , for example , knowing a few galleries in San Francisco, I began to notice their presence at Sotheby's and Christies . What a contrast with an interview with a Russian gallery owner , who proudly declares that sends in the trash a portfolio of new artists who are not looking . Incidentally, this is a very nice site , I came across it recently , there is the curious comments of the author to the works of the founding fathers of abstract art .
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художник Ixygon - http://artnow.ru/ru/gallery/3/9765/picture/0/0.html |
31.03.2011, 11:46 | Язык оригинала: Русский #4 |
Banned
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It was, like, antiques dealer and the "dead" artists.
Trade in antiques and modern art, as they say in Odessa, is a big difference. |
31.03.2011, 11:53 | Язык оригинала: Русский #5 | ||
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Цитата:
Under implementation ,1 - 2 work begins , " brilliant " and artists can take .. Idiots , philanthropists among gallery owners known in Russia is practically no .. Look at the forum, there are themes of renowned galleries in Russia .. find there at least one job , beginner or little -known artist .. them there is simply no .. Цитата:
A hundred times already wrote about it ... |
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31.03.2011, 12:01 | Язык оригинала: Русский #6 | |
Гуру
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C. P.: Portfolio us every day they send over the Internet in large numbers. We almost did not otsmatrivaem them. 99 percent bullshit. Decent portfolio yield only for some contacts, or when the curators of the people to see me lead. Gelman in this respect is much more dynamic figure than I do, it has more areas and takes a lot of dynamics. It does not work with an artist like me, does not work with legacy, does not work with backgrounds artist for 20-30 years. He works with today, and he needs more young blood. I am also very conservative in this respect, man. I need to immediately see the artist in embryo, that with this guy I'll be able to work about 30 years. And there are very few. And young, I have very little. My conservatism is dictated by the fact that there are no such figures, in which I could be sure in advance. A momentary, selling, selling, I was never attracted. Added after 8 minutes Seriy, and that it hurt you so "portfolio in the trash? You are not the first time this portfolio mentions on the forum. A vivid image? He scares you? Последний раз редактировалось Кирилл Сызранский; 31.03.2011 в 12:10. Причина: Добавлено сообщение |
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31.03.2011, 12:12 | Язык оригинала: Русский #7 | |
Гуру
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Цитата:
I have a friend of the artist - 20 years old , talented , exhibited 11 paintings at a small exhibition - has sold almost all the costs from 1500-2000 euros . One picture then hit the auction has sold over 8 thousand euro. Now he has no end of buyers and galleries , and he does not hurry in the new " industrial " scale, write as many would have done , said , give at least finish my studies .
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Per aspera ad astra |
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31.03.2011, 12:20 | Язык оригинала: Русский #8 | |
Гуру
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Although, in fairness , we must admit that this is not the fault of galleries , and their forced biznespolitika in our unstable ( in all respects ) country : Not to fat - to be lived. ( c) |
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31.03.2011, 12:29 | Язык оригинала: Русский #9 |
Banned
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"I am also very conservative in this respect, man. .... My conservatism is dictated by the fact that there are no such figures, in which I could be sure in advance."
This says it all |
31.03.2011, 12:37 | Язык оригинала: Русский #10 | |
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