Interviews on Art Marketing (Part II)
(One of Rick Osaka’s recent works)
(One of Rick Osaka’s recent works)
About 20 years ago I met Jordan Ramin, who worked inHollywood as a sound engineer for the producer Michael Todd. Mr. Ramin was a close friend of both Michael Todd and his wife, Elizabeth Taylor. He received the Regency radio in the book inscribed with his name as did about 60 members of the cast and crew who worked on “Around the World in Eighty Days”.
As an artist you are also an art salesman. Especially if you are trying to get in a gallery by going to Thursday night openings. If an art opening starts at 7 get there at 7. The owner will be anxiously milling about wondering if anyone will show up and there you are. Dress noticeably well. Look like you walked out of the pages of Vanity Fair magazine. Do not dress in a painter’s uniform of Dr. Marten’s, tee shirt and paint splattered pants. That look is over. Get a nice suit from a thrift store and have it tailored for about $14. If you are female do not show up in clothes you have made yourself. Do not try to look “interesting”. Get a perfume spritz and buy something hot at Bloomingdale’s. Return it the next day.
Compliment the director/owner on their insight and fine choice of art. Even if, and it surely will be, a horrid a pile of dung. Laugh rotundly at any attempt at nervous wit he or she may proffer.
Curator’s Statement
By Pamela Hart
In the world of classic tattoo art, before the image was marked on the body, there was the flash. These bold iconic designs were created by tattooists on sheets of paper and displayed in tattoo parlors. They’re part of the landscape of carnivals, Coney Island, and penny arcades. Look closely at a sheet of tattoo flash and you can almost smell the sweat, cotton candy and popcorn intermingling along the carnival’s dusty corridors. You can hear hawkers urging passersby to check out the bearded lady or take a toss and win a prize. Tattoo flash images caught customers’ attention because of what they represent. They include symbols and signs of love and beauty, of travel or time served, of war and military service. They’re amulets, mementos, or status symbols – occasionally religious, often personal. Whether elaborate or plain, the images suggest romance, travel, patriotism, adventure and perhaps a connection to shadowy subcultures.
What does it mean to have an artistic reputation? Is there a line between being a sellout and a savy businessman? To further investigate this issue, I relied on the help of professionals. A survey was sent out with a list of eight questions to experienced art professionals that would bring insight to the modern role of marketing in art. These people have years of real-world experience dealing with the modern art world and all the business aspects of it. The responses I got ranged from successful art dealers, consultants, artists, curators, and more. Of course there was no one definite answer, as the answers where as varied as these people’s backgrounds. However, there was a general consensus on some issues, and all the responses added valuable and smart insight to the subject.
Recently we attended the Molly Barnes Brown Bag Lecture series featuring Ultra-Violet at The Roger Smith Hotel in NYC. Molly was charming as usual, and knows how to lead a crowd (with the exception of introducing someone as the long deceased Charlie Mingus).
For those not “hip” enough to know, UV was a “superstar” and muse for Warhol and Dali back in the day. Beyond her elevated groupy status (Warhol eventually replaced her with a younger girl “Viva”), UV separates herself from the pack with her own recent works. Admittedly, I did not have high hopes for this event. In my mind, it would be like meeting the former Highschool badass, who only has the same old story to tell; “do you remember that one time man? When we had____ and did____?”. Warhol’s famous Factory was a constant party-scene, and one would expect any survivors to be burnt-out and at best confused.
The smell of arugula, balsamic and Virginia Slims choked the room. Our inside source, a “fly on the wall” was at a clandestine meeting of the infamous Gang of Five New York Times art critics, having yet another emergency session to discuss what to do about the…
Bull fight pics
Eric Fischl (left) & Leroy Nieman (right)
Lift Trucks: You mentioned earlier about “Had to and Has to” regarding painting. I hear you. But I think a lot of great work comes out of the second category. Somebody or some reason making you produce some art can really shove the process up a notch-stunning example is the Sistine Chapel. Many times being forced can bring out the best. Just always paint as if you are going to be hit by a bus tomorrow, and this, this, is what you are going to leave us with?
After a longer than expected hiatus which involved some rehab time between the fabulous WigWam Inn and Canyon Ranch in sunny Arizona, we are now back with exciting news! A source will talk about goings on in the heart of the arts! Covert and fearful of the damage the powers that be can wield upon a career, all will be in secret. We all know that critics really are like the baby with ball peen hammer in a Hong Kong gift shop. Our exclusive source will talk with us under the clever moniker ”Deep Palette”.