Here are two emails. The first is from one of my students (name/email address withheld). The second is my response. Take note of the accompanying photograph that illustrates my point.
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Professor Martin,
I just returned home from the Nashville Gallery Crawl. It is the first I have been to.
Since I've spent the majority of my time learning about movements in art history, theory, methodologies, etc., I simply did not understand what I was getting myself into. It is absolutely miserable. Literally, the entire system of Nashville art is based upon compliments. No one in this town has the slightest bit of discretion. They are isolated in their subjectivity, not even the feeblest attempt at taking on world issues (asides from a mixed media peace sign with the Iraqi flag behind it, kill me).
It's as though everyone in this town is a graphic designer. Everything is pristine, pier one-like. I mean, they don't even mimic decent art, but would rather represent everything going wrong in the art world. Hundreds of "abstract" paintings, all lacquered, shiny, going upwards over $1,000.00 dollars. The audience incessantly talks about getting free booze. Artists desperately trying to get sincere responses out of viewers, and failing. The whole thing is insulting. They put a cheap mint on my pillow and then expect a tip.
The small journal I'm doing an article for right now has asked me to direct the pointed arguments, I'm making, away from the Nashville community. To keep it strictly to the importance of what I'm talking about, without historical or theoretical context.
I know this is not the best way to articulate such a thing, but I'm furious and would like your opinion.
Thanks, _______________
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Dear _______________,
I hate to break it to you this way, but it doesn't get any easier. When it comes to the Art World, Nashville is just a teeny-tiny aspect of the grand scheme of things - if, of course, it is even that. To be honest, you have to keep in mind here that Nashville has never and will never make a single dent in anything when you place it into the context of the Art World writ large. Try going to a Thursday night opening in Chelsea, for example. Here, you will find a multitude of people who embody the nature of the Art World today. They have this presence about them that is, well, "artsy." Their look, dress, hell, even their glasses may attempt to evoke their "artsy" influences/background.
The sad thing is, of course, the fact that this is all a thinly-veiled/transparent facade. Few - if any - of the people you'd meet at a New York gallery opening (and Nashville will more-than-likely mimic this, just in a half-baked - and certainly friendlier - kind of way) can tell you nothing of Art in general. They know nothing of its history, methodologies, and various theories. They are merely fixtures of the Art Establishment/Institution - only there to see be seen by other aristocratic/upper-class urban dwellers who use Art as a vehicle for cobbling together their own limp personalities/identities.
The worst part about all this is that these are the people who are of any consequence/influence to the Art World's Higher-Ups. They have the financial wherewithal to actually consider buying some of the Crap/Art you see in contemporary galleries nowadays. And, for the very reason of this aspect of the All-Mighty Dollar, their opinion counts while, of course, your knowledge/education level simply doesn't bring anything of utility to the table.
That said, it's funny to go to these openings - be it in Nashville or New York - IF you know what you're getting yourself into and can psychologically handle these sycophantic little turds of humanity for what they really are. Otherwise, you'll just be banging your head against a wall in frustration. To illustrate my point, I have attached a (very) recent photo that my friend, [name withheld], took at the Vanessa Beecroft opening in Chelsea last week. Or, at least I think it opened last week. In the photo, you'll see Beecroft herself standing next to none other than Kanye West. If you're under the impression that Kanye would be capable (not to mention willing) of having a high-end discussion about the relevance of Beecroft's work within the context of the History of the Nude Female Form, I think you would be sorely disappointed. Yet, it's Kanye who, of course, has the Capital required to be a worthwhile participant in this whole charade, not to mention the Fame/Fortune/Influence to get noticed at such a show, while Beecroft continues to Get Paid. You find a suitable venue, load it with fresh, new work to attract attention of potential buyers/patrons, then throw a bunch of pink wine at them on a predetermined date (i.e., the show's opening) so that they can fully indulge themselves in the socialization process (i.e., "See and Be Seen").
So, basically, the Art World is a bit like running a Pig Farm (personalities included). Here's the photo to prove it (you'll notice Kanye in the center-background with the red New Era ballcap, checking a text message). I hope this honesty relieves some of your frustrations.
Best,
Prof. Martin
