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Wednesday, April 17, 2013

The Museum Show, parts 1474 - 1477


1474. And yet there is something even worse than that: to have one's work hung salon style and to be placed down by the floor and over in a corner, so that one must crouch down to get a good look at it. It could even be worse, if there is also a door blocking the view, dark shadows because no light falls on the picture. Such treatment has led to many a disgraceful scene between gallery owner and artist, between artist and museum director.


1475. Arguments ending in the slamming of doors, ultimatums, oaths to never darken your doors again, to speak evil of you to everyone. Artists are especially guilty of this kind of outburst, and there is hardly an artist's biography that does not contain examples of this type of scene.


1476. The exhibiting artist, unless it is their first time, never stops to consider that almost all of the others who submitted works were rejected. All the rejected artists are envious of the little painting hung down in the dark corner, salon style, they wish some day to arrive at that dark corner, but alas, a lifetime my go by and the dark corner of the exhibit hall will never be attained.



1477. But the artist down in the corner is insulted, and wants to have nothing to do with that gallery ever again. Such is the, "Theory of Relativity," when applied to the life of the artist, and their experience of the vagaries of recognition. One can't forget that Warhol was a great artist, but was consumed by fears that he was second best after Jasper Johns, feelings created by just such subtle considerations as to where in a room one's best works were hung.

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