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"If you believe in galleries, and in their artists, then this is the time when you have to be buying from them," she explained. "Because the art world needs those galleries to keep going." To her, galleries play an essential role in propelling culture forward.
We at Art Basel and Art Basel Miami Beach could not agree more. Every year the gallery owners on our selection committee meet to choose the participants for the coming show, and the committees prize contribution to the broader art world more highly than raw commercial success. That contribution can lie in launching new careers, or reviving those of artists unjustly forgotten. It can take the form of contributing to scholarship by funding catalogues raisonnés and other publications. Or it can involve underwriting the production of ambitious works. Likewise, major galleries constantly contribute time, energy and money to help museums realize ambitious shows. The impact of such efforts can be widely global or intensely local. Such engagement requires unwavering dedication by gallerists.
Today — when the speculators and status-seekers are disappearing — it is more important than ever for serious collectors to continue buying from the best galleries. Why? Because it directly supports the artists, so they can continue developing their practices. And because for several hundred years, gallerists have been the ones who have most frequently taken the first and largest risks in promoting new artists, movements and mediums
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Granted, galleries are commercial entities. But in the good times, serious galleries don’t simply cash out; rather, they reinvest much of the profit from their successful artists in sustaining their entire programs. Even the largest galleries are small by most business standards. Most have the owner’s name on the door and bear the stamp of their founder’s personality. These galleries are not purveyors of luxury goods or brokerages peddling an "alternative asset class." No, serious galleries are a critical component in the art world ecosystem, providing resources to artists for both their short-term projects and their long-term legacies
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For collectors who can afford it now, and who believe in the contribution that artists make to our culture, buying from such galleries is a form of cultural patronage. It allows new work to be made and new shows to be planned, and as such it deserves admiration. It should, in short, feel totally right. Because buying in hard times has a far greater impact than when things are sailing along smoothly, and doing so demonstrates that the collector is in the game for the sake of art, not money.
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