Back to the assumption (let’s call it a bias) that artists who have a day job are not serious enough to be represented by the more “serious” galleries. My problem with that is, with the way New York (still the biggest concentration of powerful curators, collectors, and critics in the world) is evolving, is how it more and more favors rich artists…
I don’t really understand the bias against artists with day jobs. Deitch implied it represented a lack of seriousness, but what’s serious about being born with a silver paintbrush in your hand?
In Defense of Artists with Day Jobs —edward_winkleman
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