The Art World is Dead. Long Live Art.

By now, anyone who cares is well versed in the Tragedy of Becky Smith's Bellwether.

Once sales dried up by the fall of 2008, Becky called three of her largest collectors, pleading for some business — “I tried playing it cool, and then I tried playing it direct,” she said. She recounted a typical conversation: “I need to sell you something to continue to be here,” she would tell a collector.

“I’m just not buying,” was the reply.

“Did you hear me? I have this artist you collect who will have to get another job. If I can’t sell you something right now, I’ll have to close,” Becky would say, but the response was the same. “I felt forsaken,” she recalled. “All these collectors who supported me and my artists, they just disappeared. They didn’t care.”

Although I was not the kind of person who ever registered on Becky Smith's radar, I feel about as sorry for her as Chris does. She was something of an idealist; even as she careened into a business that, at its peak, cost her $75,000 a month in overhead--more than most artists earn in two or three years--she thought that it was at least partly about the art. About ideas, creation, passion, beauty, humanity, exploration, the pursuit of excellence, originality and insight. That stuff.

I guess we all do.

I can count on one hand the number of Chelsea art dealers who have ever been polite to me. Polite, as in acknowledging my existence when I say "Hi, I'm Stephanie. You are..?" instead of blankly looking through me for a second before speaking to the person next to me. Polite, as in offering me a glass of champagne and allowing me to accept it, instead of moving it past my outstretched hand to the couple ten feet behind me. Polite, as in saying, "that would be lovely!" when I offer to show them my portfolio after visiting their gallery regularly for a year and a half, instead of "It's a waste of time for me to look at your work."

(Actually, not a single one has ever said "that would be lovely," even though that's my usual response to other artists. As far as I know, there's not a single Chelsea dealer who has any idea what my art looks like, let alone an opinion about it.)

That hasn't stopped them from sending me press releases, once the 'art criticism' business imploded and the art blogosphere took off. Talk about wasted effort. Dudes, get a clue: once you have been egregiously, offensively, unnecessarily rude to me in person, you can inundate me with hype and schmoozing for fifty years and I won't come back. I won't come back to interview you, have a glass of wine, or sneeze on the art. I will ignore you. You are a waste of my time.

But what I realized, after the Fall of Bellwether, was that some part of me still believed that there was some reason to respect these people. That no matter how idiotic, banal, frivolous and inane was the majority of the 'art' I saw in their galleries, nevertheless the New York Art World stood for some sort of quality. Some kind of allegiance to the life of the mind and the exploration of the spirit.

Then I thought, "$75,000 a month in overhead?" That's not art, that's fashion. Fashion, corruption, and excess.

Because a business that generates a $75K monthly overhead for a white room filled with arcane, useless objects can only be sustained by the kinds of people who happily pay themselves multimillion dollar bonuses in taxpayer money after their personal actions torch the global economy. It can only be sustained by the kinds of people who are driven to accumulate infinitely more than everybody else, no matter how many others go sick, hungry or unemployed. It can only be sustained, in other words, by sociopaths.

It's no mystery that I and the New York Art World don't get along. My interests lie in the direction of timelessness and balance.

'Twisted lotus mandala' (study), Stephanie Lee Jackson, 2009

Thus, I have realized that if I am to maintain my integrity as an artist, I have to forget about galleries. Instead I will seek to hang my work in wellness centers, yoga studios, doctor's offices, spas, churches, and any other place that exists to heal and nurture the human spirit, not crush and deride it.

I'm pretty sure this is the right direction to take, because immediately after coming to this conclusion, I started working steadily, despite being blocked for over a year, despite being broke and stressed and taking care of an infant all day.

Does that make me a kitsch artist? Well, it could, except that I'm not going to change into someone else. If people think my art is kitschy, they're not looking very closely. And if there's one thing I've discovered about New York art dealers, it's that very few of them actually know what they're looking at.

How to Sell Your Art In Manhattan for Free

Rumor has it that certain Chelsea galleries are renting out space by the hour, in a sort of Recession Special that is allegedly going to help artists make ends meet in these desperate times. They must suppose that there are still a few thousand artists in the city who have not figured out that the only people who come look at, and occasionally buy, your art when you are not represented by a Big Important Dealer are your friends, and you can invite your friends to your studio for free.

But what if your studio happens to be in a Scary Neighborhood, as so many studios are, and your friends with disposable incomes refuse to visit you there? It so happens that there are other options than renting out six feet of blank wall in a failing gallery on a weekend when all the collectors are in the Hamptons. So here is some practical advice, from an artist who has Actually Been There.

On the sidewalk at West Broadway between Prince and Spring, Saturdays and Sundays year-round, that is. You might also try Fifth Avenue near the Met, or Union Square, but I don't personally know the scene, so don't blame me if you get roughed up by the regulars.

1) Stake your space before 8:30 AM.
You will need a folding table or a display rack to do this. Set it up on a section of sidewalk between the foot-traffic zone and the curb. Do not set up directly in front of the doors of any retail establishment; they will call the police and have you removed if you do. Do not leave any objects of value, such as art, on the rack or table while you are off napping in the car or sitting in the café.

2) Do not expect any foot traffic before 11 AM.
Tourists and other people with disposable income sleep late on weekends, rather like you used to do, when you had a day job and a dealer.

3) Shiny, shiny, shiny.
Artworks that catch the eye of tourists and fashionistas need to be bold, colorful, and executed in a recognizable (read: retro) style. Picasso knock-off prints do very well, as do photographs of NYC landmarks. Small paintings of dogs and flowers are also great sellers, as long as you put in enough consecutive weekends to build up a following.

4) Simplicity of display is essential.
Remember, you are competing with the chaos of a Manhattan retail district sidewalk, and all that that implies. Don't try anything subtle or fussy. Use a simple black backdrop and a vertical display format; sandwich boards are the most stable. Bring folding chairs, suitable attire for the weather, a friend and a sense of humor. Make sure that everything is firmly anchored, especially on windy days; find or bring a few large rocks to chain your table to.

5) Be consistent and professional.
Don't share a display rack with an artist whose style is utterly unlike yours. Don't show art from every phase of your creative development. Don't show anything on unstretched canvas, unless you're just there to drink beer on the sidewalk with the other losers.

6) Package yourself.
Have business cards with your website and your etsy.com store available. Keep works on paper in plastic sleeves. If you can beg, borrow or steal a credit card machine, do so; people spend twice as much with half the consideration if they can charge it. Come to think, you may be able to use PayPal from your cell phone; do the research.

7) Cover your behind.
Go to the irs.gov website and register for an EIN. It should come in the mail within a couple of weeks; keep it to show to the cops if they pester you with talk of business licenses. Be nice to the other artists on the street, even the Chinese guys selling kitschy framed photos mass-produced in China, and stay out of political and territorial wars as much as possible. Remember: the fiercest battles are always waged over the smallest stakes. A few square feet of sidewalk is not worth a night in jail.

8) Do not expect to be discovered. Especially, do not expect to sell your work for anything like Art World prices.
Works on paper move for between ten and forty dollars; paintings for between fifty and a hundred and thirty. Feel free to price them higher, but be aware that you will be sitting there for a long, long, long, long time.

9) Tell your friends.
You may think you're going to display your brilliance for a world of ignorant strangers and bring them to their knees, but round about three o'clock you're going to be very glad to see a familiar face, even if it's only your brother-in-law the IT guy. Hey, don't IT guys make pretty good money? Do his walls need something on them?

10) Appreciate your day job, if you've got one.
Isn't it great to be getting a paycheck for sitting behind a retail counter in a temperature-controlled environment, or for washing dishes, or scrubbing toilets, or painting houses, or laying tile? Isn't being an artist kind of overrated?

Oh, please

Go read this article: Trying to Live on 500k in New York City. Read the whole thing; it's short. I'll wait.

Sure, the solution may seem simple: move to Brooklyn or Hoboken, put the children in public schools and buy a MetroCard. But more than a few of the New York-based financial executives who would have their pay limited are men (and they are almost invariably men) whose identities are entwined with living a certain way in a certain neighborhood west of Third Avenue: a life of private schools, summer houses and charity galas that only a seven-figure income can stretch to cover.

Yes, the solution IS simple. Not just because there's no reason that the taxpayers should pay for your summer house; because a person who is responsible for managing a financial system which determines people's lives should have some CLUE WHAT PEOPLE'S LIVES ARE LIKE.

Talk about identity politics. There is no social good to be maintained by buttressing illusions of superiority in a handful of drones who shuffle numbers while other people do the work. There is, perhaps, a great deal of social good to be obtained by insisting that bankers be forced to learn to manage money.

For starters, consider this:

A modest three-bedroom apartment, she said, which was purchased for $1.5 million, not the top of the market at all, carries a monthly mortgage of about $8,000 and a co-op maintenance fee of $8,000 a month. Total cost: $192,000. A summer house in Southampton that cost $4 million, again not the top of the market, carries annual mortgage payments of $240,000.

What kind of a jackass buys an apartment with co-op maintenance fees that equal the mortgage payment? I took an open house tour this weekend of a very nice three-bedroom condo in Brooklyn, with views of lower Manhattan, the Statue of Liberty, and boats coming into the East River. The asking price was $955,000, with monthly maintenance fees of $510.74, and a projected mortgage payment after tax abatement of around $4000. This, of course, is still obscene, and I only went on the tour as a tourist, so to speak, but it's nowhere near $16,000 a month. That extra $10K or so is just a stupidity tax.

The thing is, all of the so-called hideous costs of maintaining an 'executive aura' can be avoided by the simple expedient of avoiding costs which only exist to maintain an 'executive aura.' In other words, drop your ego. The sordid truth is that nobody ever believed your ego in the first place; they're taking advantage of you. You are paying through the nose for everything you do because you are a shallow, gullible prick. And incidentally, that's also why you screwed up the financial system.