I only want to point out that in societies such as ours, the intrinsic commodity is really "need" .the need of artists to show work, the gallerists to have a product that is sellable or interestng. Members of the public, to own something beautiful, or chic, or something that will grow in value. A good gallerist has to be a good salesman/woman. Many gallerists are not good in sales. Many gallerists wind up getting artists, whose need is greater than others , to foot the bills and pay outrageous sums to show their work. In the beginning, it is often only the artists themselves that see the value and importance of their work.
What is the solution to these improprieties?
My doctoral research is based on investigating past instances of artist co-operation and promoting artist working co-operatively. I am finishing my doctorate at Teachers College Columbia University in New York.
Many of the developments in modern art along the historical timeline were generated by groups of artists working co-operatively
Artists joined together to mount exhibitions, create manifestos, galleries, clubs, opportunities, From the age of Courbet, to the Impressionists, Pre-Raphealites, American groups of many different stripes. The Whitney Museum was originally an artists club, funded by Grace Vanderbilt Whitney. It only became a museum as the original members aged and wanted their work to be seen in perpetuity.
Artists need to work together, organize together, find common cause.
In my early years, I with some others set the art world on edge with some grand exhibitions. One of my shows( the Monumental Show) was called by New York Magazine "The event of the season" comparing it favorably to New York/New Wave, an exhibition at P.S. 1 that same year (May 1981). That was a long time ago.I was just out of art school. But it is possible today to do such work.
many of the 40 exhibitions that I have curated or organized over the years were not funded, were artist generated and were viral, in that energy from participants, the public and press created a buzz that supported and helped create the climate for the exhibition.
I am working with these ning groups as well as a European based group, cultureinside.com to study and chart these developments.
Anyone interested can come to www.cultureinside,com and join. It is free. We are doing the first of several shows this June at two good galleries in Luxembourg , Galleries Clairefontaine