Sunday, October 18, 2009
The curse of the Miami early mid-career artist*
A test of the new economy:
During the boom, deals were done in the first few hours of the five-day fair. This time, prospective buyers tended to put works on reserve, promising to deliver their verdicts after sleeping on it for a few nights (...) On the whole, the art on display was smaller—mercifully there was scant evidence of the giganticism that had infected boom-time sculpture—and younger. Some established dealers, such as New York's Tanya Bonakdar, Anton Kern, and Andrew Kreps, had dropped out, while the fair's new entrants tended to represent rising artists. Moreover, Frieze had introduced a new section, called “Frame”, where fledgling dealers presented solo shows of young talent.
*Miami Bourbaki is working on a series of interviews on the state of the Miami art scene. We'll tentatively call it "The curse of the Miami early mid-career artist."