Commercial Art Gallery Response; "Dolls & Masks" and "Avante-Garde Art in Everyday Life"

                There aren’t many rules in the art world; however, Edward Winkleman recommends that potential gallery owners abide by his helpful tips in order to effectively run a commercial art gallery. A degree isn’t necessary, but knowledge of or the natural ability to run a small business is quite helpful. Originally, art dealers served as the “middlemen between collectors and artists,” but evolved into individuals almost as noted as artists themselves.

                Art dealers must tirelessly promote the work of the artists that might not even be successful for another decade or more, such as the Impressionists. With a large sum of money and faith, Paul Durand-Reul was able to convince the public that this artwork was extremely notable. It was unknown to me that there are two different types of art dealers: those that promote unknown artists out of enjoyment and those that act as salesman to profit off of successful artists. However, both must have the common talent of recognizing commendable pieces in order to become prosperous and reliable. They also must please the public, the press, and the artists.

                Jen Bekman’s story represents the true devotion and passion for art that a gallery owner should have. Without much experience and after scraping up the money, Bekman was able to use her own creativity to aid in her success. Winkleman shows that not only artists are the innovators but the promoters of these artists are, too. Bekman’s ingenious idea to use the Internet as a connection between emerging artists selling their work and buyers looking for a reasonable price was a large part of her success. Today, technology can make this communication and art dealing so much easier than in previous decades. Nevertheless, a good business sense and a natural drive like Bekman’s is the most ideal combination for a successful art dealer.

                Winkleman points out that opening a space is certainly not accompanied by immediate success. Several competitors and unsound business are the major setbacks of the job. As stated, “Art is something no one needs. Selling lots of it, therefore, requires commitment, knowledge, and connections.” A knack for networking and socializing is necessary, as in any job in the art world. Furthermore, a confident knowledge in the gallery’s work and overall identity is needed to promote the space and the owner. An art dealer is similar to an artist in that both should have a mission statement, a vision, communication skills, and above all, passion.

                Ralph Eugene Meatyard’s intimate exhibition of family photographs serves as a memorial to his extended family. All of the photographs among Dolls & Masks are quite personal in that they’re his own prints but more significantly because he uses his immediate family as his subjects. A first look at these scenes might lead the viewer to believe that Meatyard’s work is dark and haunting; however, his intention was to trigger emotional associations, create wonderment, and establish a universal effect.   His children and wife are masked in many of the pictures and they’re portrayed among decrepit Kentucky scenery. His scenes are controlled and many of them contain props, such as dolls. Meatyard’s closeness with the viewer is enhanced by the dim lighting of the room, smaller image size, and black and white photographs. This series is meant to be a timeline and portrayal of a fictional story, not a grim account but a commemorative one.

                Avante-Garde Art in Everyday Life is a historical collection show containing a collaboration of prints, drawings, photos, and various objects from the Bauhaus era in Eastern Europe. These works overlap, as the ideas of the artists in the exhibit were inspired by, taken from, or formed with one another. So that the viewer notices that the artists are similar, works meticulously face a particular way to be in a certain line of sight. An example is the display of Ladislav Sutnar’s utilitarian dishware and Josef Sudek’s advertising photos for the china. His photographs show new ways the china can be arranged or even thought about. Like many of the prints in the exhibit, these are hung on wood panels covered by mustard yellow fabric. Others hang on a deep red; both of these colors resemble those that are used in some of the works in this exhibit. The viewer might notice the various prints, book covers, and photomontages on display, a start to graphic design as we know it today. Political posters represent the historical approach taken to set up and unify this large collection. Compared to Meatyard’s work, this collection is intended to be a vast, informative experience, rather than an intimate story.