In I Sold Andy Warhol (Too Soon), Polsky leads the way through this explosive, short-lived period when the "art world" became the "art market." He delves into the behind-the-scenes politics of auctions, the shift in power away from galleries, and the search for affordable art in a rich man's playing field. Unlike most in the art world, Polsky is not afraid to tell it like it is as he negotiates deals for clients in New York, London, and San Francisco and seeks out a replacement for his lost Fright Wig in a market that has galloped beyond his means. A compelling backdoor tell-all about the strange and fickle world of art collecting, I Sold Andy Warhol (Too Soon) takes an unvarnished look at how the industry shifted from art appreciation to monetary appreciation.
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|Publisher:||Other Press, LLC|
|Product dimensions:||5.50(w) x 8.50(h) x 1.10(d)|
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The real highlight for many art world patrons is the Sunday morning brunch at Christie’s (Sotheby’s has a cocktail party). From eleven o’clock to one, jacketed waiters serve champagne and tend to a spread of food, hoping to create a festive atmosphere for potential buyers. Watching my colleagues stack their plates with leaning towers of mini-bagels and lox, assorted pastries, and croissants, is a sight to behold. The less important the player, the more food they take. The Yiddish word chazzer (pig) quickly comes to mind. I’ve even caught a member of “Lilco” (Long Island Ladies Co.), a posse of bored rich housewives masquerading as art consultants, sneaking food into her purse.
Personally, I only sip champagne. I’m there to do business. For that reason, I always make it a point to have breakfast before going to Christie’s. There’s nothing worse than trying to shake the hand of a client when yours is covered with cream cheese. Ditto for trying to have a serious discussion with a collector, who’s staring at your teeth, dotted with black poppy seeds from a bagel. Finally, unlike me, the real power dealers don’t touch the champagne, demonstrating their taste is above the inexpensive label being served.
Simply put, the Christie’s brunch offers a unique overview of the players who make up the art market. Whether it’s a dealer exaggerating to a colleague about how much money he just made on a sale, a collector lying about how he was the underbidder on last year’s recordbreaking work by (fill in the name of a famous artist), or an auction house expert insisting whatever painting you point to is the best of its kind, it’s all pretty amusing–to an outsider.