Invisible

I always thought Chelsea galleries exhibits artists that belong in a particular place in contemporary art world. Those who are too big to be shown in Brooklyn, but not quite dead enough to be in museums. Wherever their place may be, my assumption is that these men and women whose works occupy most prestigious wall space in America are most accomplished artists of our time. For many aspiring artists (including myself), Chelsea galleries are almost sacred spaces. Hoping to be discovered by Leo Castelli of our day.

I wonder if having such perspective make my experience of being in these galleries different from other  visitors. Most of which essentially treat the gallery spaces as smaller museums. But I know there is one part of experience that seem to be common; becoming invisible upon entering the gallery. Never once in the past in Chelsea galleries have I been even acknowledged, much less greeted with simple "hello". I found it incredulous that reception wasn't much better last Thursday, when fifteen of us visited several galleries.

Of course it's not at all like going shopping at Home Depot. Where I can't seem to take a step without having someone wearing traffic cone apron ask if they can be of any service -no thank you, I know how to use a hammer-. But I can't help but think some offer of guidance would have been very useful at Andrew Kreps gallery. After all, not all of contemporary art are as self-explanatory as Marcel Dzama's Une Danse des Bouffons. Which I thought was latest Arcade Fire music video at first, but once the stuffed fox was introduced it became clear it was a scathing critique of EU leaders on their failure on ongoing euro crisis.

Not to be too critical though, I know what it's like to be on the other side of the desk. Having to show up at 10am with pollock-sized hangover, waiting for the day to be over (promptly at 4pm. Closed Sunday-Tuesday). Silently staring at asylum-white wall, answering same question all day - no, you can't use the restroom - I imagine purgatory would be a lot like that. It just makes me wonder just who these gallery exhibits are for.

Galleries find themselves between two groups with increasingly polarizing interests. On one side, there are artists, art historians and curators who mostly insist value of art are unquantifiable and immeasurable. And on the other, collectors who more and more treat artworks as investments, something to complement their portfolio alongside stocks and bonds. It's difficult task to navigate between changing commercial art market, made no easier with rising popularity and importance of large-scale art fairs. Not to mention auction houses which are increasing their effort incontemporary art department, especially in overseas market.

Keeping in mind Leo Castelli who sought art historical and institutional recognition ahead of immediate commercial success, which in turn eventually brought him more success than his rivals, it's no less of a catch-22 game all around now. It's funny how the present can be most nebulous and confusing time to be.

Tony Lee