Watching paint dry.
Even worse. Watching someone painting a booth two aisles away via a photo posted on the gallery’s Facebook page. How distant can we make being this close?
Like I know what drives fair selection committees?
For all of you who enter arts competitions and never understand the jurying process: it exists on every level of the art game. We set our sites on some ephemeral goal that we think indicates progress, success, making it. Halfway there, we question whether we’re on the right track.
The dealer opposite us wants to be at Basel Miami (I assume everyone here does), and he’s determined that Art Miami is a step in the right direction. Two more dealers of contemporary glass, neither admitted last year, are in this year’s fair. What does it mean to them? I suspect it’s less alluring than it was when rejected.
Don’t diss rejection. It’s a powerful motivator. Yes, there is a certain bias against a material-driven art in today’s market (sometimes called “craft”, but let’s not go down that long road). That does not mean that I think that glass as a medium has been rejected in certain fairs; material is certainly not the sole selection – or rejection – criteria.
And consider this: bias, actual or only perceived, can be your friend.
What goal isn’t sweeter for the hurdles met along the way?
Or maybe this mental meandering is all just total crap – and paint fumes.
Either way. The paint is dry – ours at least. The booth is finally set.
Michael, Jamie and I head out of the hall.
On the way out, I meet a wall that is – for the moment – my favorite work yet seen at the fair.
**** CONTEST: what is the material used in its construction?
******AND the winner is Carrie for identifying: