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