Art Gallery of Ontario: Join the creative conversation

Art Gallery of Ontario: Join the creative conversation

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Lyudmila B.

Lyudmila

Morley Safer and a camera crew went to Art Basel Miami Beach last December. Sunday night his report was broadcast on “60 Minutes.”

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  • April 3, 2012
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  • Antonin S.

    Antonin

    Antonin S.

    artist

    After clearing all the muddy and selfserving muck heaped on the live statue of Morley Safer one can discover(only if one wants to), shinning substance called-Truth-

  • Brandi J.

    Brandi

    Brandi J.

    Fine Artist, Consultant

    Each side has their own opinion, and in art, that is truly all it is. The author of this article comes off as at least as pompous and self-righteous in his own way as he says Safer is. You may or may not like Safer, you may agree or disagree, but he speaks for a lot of people, including many artists, who feel just like he does.

  • Meagan C.

    Meagan

    Meagan C.

    Internet & Social Media Content Coordinator at Art Gallery of Ontario

    I think the NYT writer makes a valid point, though, when she notes that Safer visits the fair and lets "the spectacle of this event, passed through quickly and superficially, stand for the whole art world." No matter what he thinks of Art Basel, it stands on its own and there's a lot more out there he could explore.

  • Brandi J.

    Brandi

    Brandi J.

    Fine Artist, Consultant

    I don't think Safer was saying that he is commenting on the "whole of the art world" at all. He is specifically addressing this segment of it, high-end contemporary art. You are right there is a whole lot more he could explore, but from the 60 Minutes perspective, that is going to be by far the more interesting story. Controversy and stories of the lives of the idle rich drives ratings. It's not controversial or all that interesting to cover a run of the mill local art show and struggling local artists.

    As one such artist myself, this stuff makes my head spin, and I am glad to see some criticism of it. If people want to pay more than my house is worth for baby blue painted toilet seats and urinals and basket balls suspended in aquariums that is their business. And if that is what sells in galleries, then I can't fault galleries for wanting to show it, even if I personally find that revolting. Don't expect everyone to be a fan of it. Morley Safer is entitled to his opinion, isn't he?

    From our perspective here, I just want to know how I get some of that money myself. How do these people manage to do this for tens of thousands when other artists with obvious talent are struggling to make ends meet? How does an artist like me break into that kind of scene? How do we even get noticed by an organization like the AGO? Of course, none of these questions are raised in Safer's story, but I can't entirely fault him for that, either. That wasn't the segment of the art world he was critiquing at the time.

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