Date: Sat, 3 Feb 1996 22:22:50 -0500
Subject: Re: dry-hump: was public (fwd)


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>From: { brad brace } <bbrace-AT-netcom.com>
>Subject: dry-hump: was public (fwd)
>To: avant-garde-AT-jefferson.village.virginia.edu
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>OK then, why continue to support and seek validation from the crusty
>gallery-curator-museum triumvirate? Start over! (*gasp!*)
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>Here's one support scenario that came to me.
>1) There are plenty of artists who yearn for an alternative to showing their
>work in galleries and winding up in museums. They start alternative spaces,
>cooperatives and the like. But, these require income to run just like your mean
>old regular gallery. With limited funding for arts activities, the big museums
>and more successful galleries seem to get a lot of what is available. So, you
>could maybe choose to shift your support from the old guard art institutions to
>newer alternatives. This might cause the old places to either shrivel up
>and die
>or curatorially follow the money trail to figure out what they need to do
>in the
>way of what they offer to entice the people back. I could see this
>levelling the
>playing field for those people and places that want to try and grab some of the
>attention from the established culture community. It could also smack of new
>spaces wanting to either knock the old guard on their ass or elevate themselves
>to the level of the big boys with all the trappings of prestige and potential
>funding that shifts like that might hold.
>
>I think there are other possibilities, this one just came to mind first.
>
>Michael

Michael you just recounted the history of such places as PS1, Artist Space,
The new Museum, The alternative Museum, etc in the 1970's.  If one goes
back to the 1930's its the history of the Museum of Modern Art and the
Whitney Museum.

Saul Ostrow
Art Editor Bomb Magazine
Co-editor of the Journal Lusitania
General Editor for  "Critical Voices"




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