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Category: Articles, Essays 19 comments »

19 Responses to “Buy Pimozide Without Prescription”

Norbert Marszalek
June 2nd, 2010 at 11:15 am
Great article Bill. I hope these apartment galleries don’t get shut down…many artists will miss the opportunity in having their work hung above the toilet in the “project room”…!
Victoria Webb
June 2nd, 2010 at 11:45 am
Interesting concept. Insurance is always a question. I’ll be participating in a ‘window’ gallery this month in Williamsburg, NYC. I had reservations about doing it, but checked with other artists who raved about both the proprietor – who owns the building – and the neighborhood; high traffic for art lovers.

These types of alternative spaces will become more needed as galleries continue to close and artists seek out new ways to survive.
ted stanuga
June 2nd, 2010 at 12:07 pm
Real estate agents sitting with empty buildings….. usually are very receptive to show ideas. I am working with one now attempting to get a group show organized…. we shall see how it works.
Norbert Marszalek
June 2nd, 2010 at 12:12 pm
Galleries have always come and gone…and will continue to do so.

Artists rave about the “window” galleries here in Chicago too. I think they still are what they are: a “WINDOW” gallery…usually in a new condo building or vacant store front. I don’t think these “window” galleries really help the artist. It’s more of a “low-hanging fruit” opportunity. Maybe it’s different in NYC. Good luck Victoria..let me know how it turns out for you.
Emily Rapport
June 2nd, 2010 at 12:20 pm
Information about city licenses as they affect artists have been difficult to find in the past – but it seems like this might be getting better.
http://chicagoartistsresource.org/dance/node/26786

Maybe? Anyway, nice article!

(Post edited to fix hyperlink –ed.)
Fletcher Hayes
June 2nd, 2010 at 12:44 pm
I’m sure the city is still sensitive in the aftermath of the 2003 stampede at the E2 nightclub in which pepper spray caused a general panic, sending 1500 people rushing toward inadequate exit doorways, resulting in 21 people being crushed to death.

http://en.wikipedia.org/wiki/2003_E2_nightclub_stampede
bill Dolan
June 2nd, 2010 at 2:15 pm
If anyone is trying to change the rules to make an exception for apartment galleries, they should differentiate galleries from entertainment venues. From what I understand, the city has made it more difficult to open these establishments, because of things like the E2 tragedy and the Lounge Ax ordeal of over decade ago.
Sioban Lombardi
June 2nd, 2010 at 4:53 pm
In 1989, a gallery building in River North burned down. Many of the “respected” galleries were destroyed. Only then did the artists find out that a number of the Galleries were not insured. Whole bodies of work were lost with no compensation for the artists.

I don’t think the art “scene” in Chicago has ever recovered and this may be contribute to the reason the city is so strict about licensing.

What I find disheartening is the need for apartment galleries. Perhaps if there was more institutional support for local artists (as in The Art Institute and The Museum of Contemporary Art) pop up shows could be organzied in any of the millions of vacant storefronts across the city. This would alleviate the problems that apartment galleries propose. But with the Art Institute laying off 60 people last week, this type of venue, that you see all over New York, San Francisco and Los Angeles, is hardly likely in Chicago.
Norbert Marszalek
June 2nd, 2010 at 7:05 pm
By 1989 things were shifting already…fire or no fire. Either way I am sure the Chicago art scene has recovered—nowadays most people don’t even remember or know about the fire.

Alternative spaces will always exist because artists WAY out number galleries, museums, etc. The problem I have is that alternative spaces seem second class…the red haired step child. It’s like publishing your own book. Each artist needs to decide for themselves where they want to be.
Dan Andre
June 4th, 2010 at 6:39 am
referring to Sioban’s comment; “the need for apartment galleries”

and Norbert’s comment; ” artists way out number galleries and museums” and ” alternative spaces seem second class”

brings to thought the same things, There are galleries who stick to showing the same artists even though they are not selling the work, a gallery in one respect is a retail store, “if it don’t sell, rotate the stock or move it out”. Also museums, from the stand point of artists and showing their work, tend to not move much from their positions either, so they have beer fests, apple bobs, walks in the park, what ever else, how about showing artwork and letting artists come and speak about their work!

Alternative spaces seem second class just like the trench coat jewelery salesman on the street, it is presentation.

I am not a writer and if this writing seems abstract, I hope you can follow. The bottom line is that the ” art sales pro’s” need help in understanding sales and the rigidity of the galleries and museums alternatively cheat themselves and the buying public by not showing more artists and a broader range of work. I call this the “fad conundrum” which is to not replace one fad till another fad is discovered.
Norbert Marszalek
June 4th, 2010 at 6:54 am
Thanks for the comment Dan. I think a gallery will drop an artist if that artist is not selling well. You’d be surprised at how many artists ARE actually selling so maybe that’s why you keep seeing them at the same gallery.
emdub
June 4th, 2010 at 9:01 am
Many artists do not feel the need to participate in a commercial gallery system. The system is “busted” anyhow, so why not create work for a non-commercial audience, and show in a non-commercial space? (apartment gallery, window, etc.) Artists who show in these spaces do not consider them “second class”, etc, but outside the system and in opposition to it. A way to encounter artwork without a commercial or institutional agenda.
Norbert Marszalek
June 4th, 2010 at 9:16 am
thanks for the comment emdub. Apartment galleries and window galleries are already part of the system. And just because artists don’t feel that these venues are “second class” doesn’t necessarily mean that they aren’t.
William Dolan
June 4th, 2010 at 9:58 am
The commercial gallery system is extremely difficult to participate in, and therefore, perceived as broken by many. The truth is, that almost all systems are broken — the corporate world, medical, government. Trying to succeed as a professional takes the fun out of being an artist. If all that matters, is creating work and just find a way of hanging it somewhere without all of the hassles of fighting for it, showing in empty store windows, bars, cafes, etc. is a fine activity.
Norbert Marszalek
June 4th, 2010 at 10:13 am
Good point Bill. Yes, being an artist isn’t only about creating when the whim hits you. There is a business side to it. Fighting to be part of “art history” isn’t easy!
Norbert Marszalek
June 4th, 2010 at 10:30 am
I really don’t get it:
I could empty out my living room, call a few artist friends, send out an email blast and have a show in 2 weeks. Also, I can go out today and get a “window” show or café show set-up. Where’s the challenge!

Getting a solo show in a prominent NY LA or Chicago, etc gallery is a challenge…and with all challenges there are rewards to be reaped.

Am I missing something here?
Meg Duguid
June 4th, 2010 at 11:06 am
1. can we change the term apartment gallery. Not all spaces that are located in rented domestic space do I consider apartment galleries. I know it seems like splitting hairs, but I believe that once a space makes an effort to cordon off the art from the domestic space, it has really become an alternative space, or an independent space. The term apartment also does not apply to garages, storefronts, and window spaces. I however am fine with calling spaces that are intermingled with everyday living apartment spaces as part of their context should be domestic space.

2. The difference for me between independent spaces, commercial spaces, museums, and non-profits are huge. Each has a constituency to answer to and a myriad of limitations. I am really going to talk about commercial vs. independent.

Clearly for-profit spaces need to pay rent, artists, and staff, which means they need to sell work. As these spaces grow their collector base though, they can sometimes afford to take on artists or have exhibition that don’t make money, but who they feel might change the art historical landscape. Ronald Feldman Fine Arts in New York is a prime example of this sort of space. I have heard many of my friends who are represented, breathe a sigh of relief when an other artist in their galleries stable sells out clearing the way for them to take a less sellable approach with their exhibition. It’s a very symbiotic relationship.

In terms of independent spaces, sometimes they can truly shine. I don’t tend to judge spaces like this for the first year of exhibitions as most of the people running it are just figuring stuff out. These sorts of spaces can be a training ground for a curator who wants to break into their own career, weather that means opening a non-profit, commercial space, or moving on to a professional curatorial career. An independent space allows them the time to learn, grow, and develop a working relationship with a stable of artists. Independent space also shine when the recognize their unique spaces as site-specific. Often these spaces are project spaces where artists can utilize the spaces characteristics to achieve projects that can’t really happen any place else. It allows for a balls-out approach that sanctioned spaces may not easily take on based on their space, public liability, or fiscal responsibilities.

However, independent spaces can feel second rate (so to speak) when there is no clear curatorial point of view, when the people who start them exhibit themselves (because that’s a collective or should have a conceptual approach to collaboration), or when there is open real estate no real curator to help get the most out of the project for the location it’s in. It’s really a question of rigor. If a space is run by a person or a group of people who take a space on as a project, they put the research in, do the studio visits, and grow their curatorial endeavor and put the work in, usually they end up with great results. If it’s just a space for acquaintance to exhibit work in, I wonder what the point is.
More on the subject of apartment galleries… « The Green Lantern Press
June 4th, 2010 at 2:26 pm
[...] In any case, and more to the point here is a portion of the article from nerotic art. You can read the whole thing by going here. [...]
Norbert Marszalek
June 4th, 2010 at 4:00 pm
good points meg