The Art Assassin

a nonfiction novel by Albert Wang

Chapter -1: The Death of Contemporary Art Not in an Appendix

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“Owning the gallery for over ten years has been my great joy and honor. It was never easy but always thrilling to ride the waves of change that have washed over the artworld since the gallery opened. The name of the gallery has always been its intention, to be a leading indicator of future trends and movements in the artworld. I was proud to have been a part of the Williamsburg scene, the exodus to Chelsea, the dawn of the e-commerce era, the boom of the emerging market, the rise of the art fair imperative and the NADA generation. I always tried to have a distinct voice and point of view, represent as many women as possible, curate from my values and not my taste and get behind artists who’s brilliance and concepts were apparent in their craft. I aimed to be known among my peers for having an eye for painting, photography and installation. I have enjoyed curating and was very proud of the many group shows the gallery has presented over the years and the critical attention they attracted.

As the current financial climate forces shifts in business and culture I feel strongly that it is time for Bellwether to embrace change and open itself up to what’s to come. For the foreseeable future I will continue to represent the gallery’s artists privately and I am working on several shows with them in a Bellwether-at-large capacity. Details to follow in the fall,” said Becky Smith, the former director at the now defunct Bellwether Gallery.

qi peng speaks up that this shift in the values of contemporary art from the commercial to the conceptual could signal the death of contemporary art as a single-value commodity. Unfortunately, he relates to investigative journalist Albert Wang that nothing much will have changed and that New York City and Los Angeles will continue to be the focus of the contemporary art world which has become less democratic since Reaganomics.

As New York Times journalist Sheelah Kolhatkar once related about the character of Becky, he mentioned that “Becky, 43, is not one of the blonde wisps usually seen working at chic Manhattan art spaces — she has a big head of curly black hair and chunky eyeglasses.” The same could not have been said of qi peng, the model failure of this fictional Salt Lake City conceptual artist who failed continually to break into the contemporary New York gallery scene.


Written by qi peng

July 11, 2010 at 6:24 pm

Posted in Uncategorized

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