by James McGirk
The “gallery” still exists on paper and hosts an occasional salon – these being one-night-only performances choked with marijuana fumes and haunted by octogenarian Warhol hangers-on and younger artists whose parents are presumed to have money – but lost its physical space five years ago. Today the gallery is a husk, but for a couple of years this gallery, which shall remain nameless, maintained a convincing façade and provided our heroine A— with her first glimpse at the art world’s mottled backside.
Art remains a mostly visual medium. Without a gallery to display his or her wares in, a dealer is little more than a middleman. Without shows, a critic has nowhere to direct his or her audience and thus has nothing newsworthy to write about, and without an overlay of critical gravitas, a painting is just paint on canvas, a sculpture is just papier-mâché wadded over wire, etc. And from a buyer’s perspective there is no quantifiable reason to pay a premium for artwork. Without space to display, an art dealer is essentially worthless to an emerging artist.
Our nameless gallery was run by J—, a friendly if somewhat frenetic American, balding and goateed, but quite handsome in spite of it, about forty years old at the time, given to fugues of untruth whose force corresponded directly to his bank balance. Not a bad man. He was vague about how he came into the art business. He inherited money from his parents, who were apparently doctors. He was money-driven and a bit of swindler but not a malevolent one. As teenager he fancied himself a sort of European aesthete and claimed to have bluffed his way into Oxford University – or almost did, he was caught registering for classes. Later he claimed to have tried the same stunt at Dartmouth, only to be found out a half semester in and discretely removed.
