As to the back and forth about her comment about how she knows when she’s found good art, I think it’s important to differentiate between the way a dealer interacts with an artist she might represent and the way she sells that work to a collector. I doubt too many collectors are in an artist’s studio quizzing them on the best ways to market their work. The sales pitches, the convincing of skeptics, is generally the job of a dealer.

Smart collectors are skeptical because they are buying something they have little control over. A dealer is actually closer to an artist; they are running scenarios internally during the visit, but they have a good deal of control. They’re looking at potential rather than finished product. Even assuming a perfect situation in which an artist has total creative control over what goes into an exhibition and even what gets sold, the dealer is still in virtually all cases doing the job of arguing for the work. I think I still believe that artists shouldn’t be in the business of arguing for themselves, which leaves dealers with the feelings Boone described as tools for making decisions about her program.

Nice find!

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