Flexible Distribution Strategies?
December 17, 2007
I’ve been told by many a person that my work is, essentially, unmarketable. I’ve had gallerists (who shall remain nameless unless you want to contact me for the scoop) “hold on” to my work after it failed to sell because that failure was somehow my fault. And, though I’m feeling a little less cynical than I was a few days ago about the machinations of the art market, I also know that trying to find a place for the work you see here at any gallery in the country is going to be very, very hard.
So, post In Rainbows Radiohead, I’m wondering about what might take the place of the phsyicality of the art object when most of my work ends up in digitized form at one point or another anyway. Also, I’m broke. Again. And I’m tired of being accused by witless middle-class people of somehow purposely being poor, as if it’s all a fun adventure. (I’m reminded, at school, of the Pulp song “Common People” on an almost daily basis.)
So, in addition to trying to forego traditional exhibition structures for things ranging from artist books to hit-and-run anonymous conceptual photo exhibits in public places, I’m wondering whether I can have what amounts to a fire sale: any print you see here or on my website, emailed to you as a high-res jpeg, for $20. Unlimited editions. (I’ve also been thinking a lot lately about Adrian Piper’s proposal that the cost of a work of art be directly indexical to the materials and labor required to produce it. Seems fair enough to me.)
So, if anyone reads this, do you think this is a good and/or insane idea, and how should I go about doing it? Comment!