Was It Worth it? Art Basel Wrap-Up Part II

 
"Untitled" by Gabriel Delponte, from the Fantastic Plastic exhibition 

By William Fong
Arts Columnist 

A few weeks have passed since the hurricane that was Art Basel blew through our fair city.  The big questions is: after all of the hype, are we any better as a result?

If you were to ask any member of our local government or representatives from the hotel and restaurant industry, or better yet read the official press release from Art Basel’s organizers, it would seem that the event was an unequivocal success.  The gallery officials I spoke with were ecstatic with the reactions from collectors and apparently were selling works ranging from a few hundred to a few million dollars.  An estimated 30,000 visitors came through the Miami Beach Convention Center during the five-day run.  Hotels seemed filled to capacity, restaurants were overflowing with moneyed patrons and with an entry cost to the actual fair of $15, and the fact that the $30 catalogue sold out, it would in fact seem as though Art Basel brought its Midas touch to Miami.

Another positive note was the excellent selection of artwork present at the booths occupied by the 160 hand-picked international galleries.  As I told all of my friends, especially those outside of the art community, this was a rare chance to see some of the most amazing art of the past 100 years, as well as a selection of some of the more cutting-edge artists whose work has not made it in to the tradition museum setting, save for the occasional biennial exhibition.     
Okay, enough with the positive effects related to Art Basel.  Any grumblings?  One note of contention that I heard repeatedly during the week, and after, was that there was too much going on.  Some may say, “Well, isn’t that better than not enough going on?”  Yes and no.  If you read my column last week, you would think that I did and saw it all.  On the contrary, I feel as if I only saw and experienced about 50% of the options available.  Since the Art Positions (shipping containers with more cutting-edge galleries on the beach between 21^st and 22^nd Streets) did not open until noon, my time there was limited and I did not even get a chance to make it to the alternative fairs at the Townhouse Hotel or let alone make it down to the Coconut Grove Convention Center. 

I also was unable to make it to the Art Video Lounge or locate many of the Art Projects (site-specific works commissioned by the fair organizers) positioned in various locations throughout the Art Deco District.  I know they schedule these events to occur during a five- day span, as many attendees’ schedules will not allow for a lengthier stay.  Can’t they find a way to allow some of these ancillary events and satellite exhibitions to remain in Miami, for the enjoyment of the local community for a few months after the close of Art Basel?  

Another issue with such an incredible array of options was they could have been more clearly defined.  There seemed to be a lot of events that furthered the stereotype of Miami being a vapid, fashion and nightlife obsessed community. 

A good friend and member of our local art community, Marisa Boyescu, summed it up well:  “Miami still needs to mature some -- people do not fly here for an art fair from L.A., from NYC, from Chicago to drink and dance -- they can do that at home.  They come to an art fair here - or anywhere -- to do business -- and if the weather is nice and there's some good music and dancing to enjoy, all the better – but it’s not better when the party overwhelms the art.”

Well, are we any better off than before?  I think Art Basel was a positive step in changing the world’s perception of Miami Beach existing as a playground for jet-set playboys, models and assorted Brazillionaires.  If we can continue to work together as a community and collaborate on events and projects that help promote what is special about South Florida we will be well on our way.  Whether or not we do that remains to be seen. 

William Fong is an art consultant who assists private collectors and corporate clients in the acquisition of artwork.  He divides his time between Miami and Los Angeles.