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I had the opportunity to chat with a number of.dealers and curators in Miami. Several were surprisingly open about . the difficulties at their end of the business. Of course I memorized what they said and wrote it down as soon as we’d parted. I’m not going to tell you who they were, but I am going to tell you what they said:
. A U.S. dealer who decided not to participate in any fairs sighed, “The only fair that accepted me was the one I didn’t want to be in.”
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. “I don’t know why I’m telling you this,” said another U.S. dealer. He then proceeded to admit he was looking for a part-time job to support himself because gallery sales continue to be slow. "Artists always seem to stay afloat," he said with some admiration. Then he asked me if I had any suggestions of what he might do. (I did; we talked.)
. The curator of a small U.S. academic gallery was talking about a show he was putting together. “I know it’s ridiculous,” he confided, “but I feel really intimidated about contacting a big gallery to ask to borrow work.” .
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. A Canadian curator (I'm not sure what the status of her institution is) said, "When an artist turns me down, whatever the reason, I feel professionally diminished.".
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. A European art dealer showing at one of the good mid-level art fairs was lamenting her rejection from Art Basel Miami—for the fourth time. “Every year I think, ‘This is the year I get in,’ and every year I don’t. It’s demoralizing. I don’t know how you artists do it.”
.
. “I don’t know why I’m telling you this,” said another U.S. dealer. He then proceeded to admit he was looking for a part-time job to support himself because gallery sales continue to be slow. "Artists always seem to stay afloat," he said with some admiration. Then he asked me if I had any suggestions of what he might do. (I did; we talked.)
. The curator of a small U.S. academic gallery was talking about a show he was putting together. “I know it’s ridiculous,” he confided, “but I feel really intimidated about contacting a big gallery to ask to borrow work.” .
.
. A Canadian curator (I'm not sure what the status of her institution is) said, "When an artist turns me down, whatever the reason, I feel professionally diminished.".
.
. A European art dealer showing at one of the good mid-level art fairs was lamenting her rejection from Art Basel Miami—for the fourth time. “Every year I think, ‘This is the year I get in,’ and every year I don’t. It’s demoralizing. I don’t know how you artists do it.”
So the next time another professional disappointment comes your way, know that some of the very dealers who might have turned you down know exactly how you feel. This is not "payback" as one artist friend has suggested. It's life.
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