As the memory of all the art activities of the preceding months slowly fade (like nearly being trampled by a chic, black clad matron in an art seeing frenzy at the entrance to one of KK Projects’ buildings. To think we had that dizzying thrill in our little backwater burg), it might be time to look through the dust and see what we are left with. Although the economic downturn made it a tough premiere for P.1, I think few question its qualitative success and its positive affect on the city. But I am particularly interested in how it affected the new orleans art makers and promoters.
Was there a palpable increase in sales, invitations to be in international art shows, and coverage in international art publications?
I’m reminded of a story I heard about a certain nyc art critic who wandered into an artist’s studio at Colton Studios. She asked them if they were prospect 1 artists. Truth Sayers that they are, they said they weren’t. Without bothering to take a look at the unsanctioned work around her, she left. I noticed many groups of art tourists come into Universal and make a beeline to the Pierre & Gilles room with barely a glance at the local work on the way in or out. Now, I haven’t been to many biennials (and certainly not to one spread throughout a city), so perhaps I don’t know all the survival tricks of biennial behavior. There is a lot of work on display, and if you have little time, perhaps the only way to keep your eyes and feet from bleeding is to stick to the proscribed path. You’ll never make it to market if you don’t follow the herd.
Which leads me to my completely informal poll on the effects of the biennial on local artists and the visual arts in nola. I’m interested in hearing actual experiences, as well as feelings, intuition, and hearsay.
contributed by david
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Quick comment on what transpired at BECA gallery during Prospect 1 - Between the opening weekend to the closing weekend of Prospect 1 our space exhibited works by 8 different local artists, all very different from each other with regards to medium and message. There were people passing through who seemed to be trying out for The Amazing Race but there was also an equal amount of visitors (artists, students, curators, critics, collectors, etc.) who took their time and there was some very useful dialog about the artists and the work. (Not hard numbers but about 1/3 of the visitors were local or from the gulf coast area.) Sales were less than we had hoped for but you may find a different story from other galleries/spaces who were exhibiting officially or unofficially P.1 sanctioned/anointed works and artists. The local printed press didn't cover much local art that wasn't officially connected to P.1 which probably didn't help most local artists. I imagine that if every local artist in New Orleans had come together to create a central promotional/outreach vehicle (physical and online, such as an Art Swamp x 10 - with that much people power), we may have been able to collectively release our own press, provided transportation and given volunteer led tours of local artist studios and every space where local contemporary art was being shown, etc. Maybe something could be planned for next time. Some of the artists exhibiting at BECA did receive some collector and curatorial interest, some currently in discussion and that may not have happened without P.1. Without doubt, new awareness of existing New Orleans contemporary art and the growth of contemporary art in New Orleans was raised. Overall, I think the event was a big plus for the city and a good energizer step fwd. for local artists.
I agree that during P.1 almost all 'outsider' attention was focused on the official artists and sites, but also being part of the Universal Furniture group, I noticed a large proportion of the visitors signing the guestbook were from NOLA and its environs: people signing Kenner, Mandeville, Slidell, etc. The outpouring of local interest was a pleasant surprise.
The summer before P.1 brought 'art visitors' from other cities who did pay more attention to local artists -- like the bus caravan of people from the Warhol Foundation. I got two offers to show in other cities from people who visited pre-P.1. It's difficult to know whether those visitors came because of Big K or P.1.
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