Imagen del editor
Título: I Bought Andy Warhol
Editorial: New York, New York, U.S.A.: Harry N Abrams Inc
Año de publicación: 2003
Condición del libro: Fine
Condición de la sobrecubierta: Fine
Ejemplar firmado: Inscribed by Author
Edición: 1st Edition...
An attractive, fine copy in a fine, mylar protected DJ. 1st edition; Inscribed and signed by author on title page on January 16, 2004. 8vo., 256 pages. 0.0 0.0 0.0. N° de ref. de la librería 20706
Sinopsis: In 1987 art dealer Richard Polsky set aside $100,000 to purchase for his private collection a painting by famed Pop artist Andy Warhol - a process that took him 12 years. His journey, spanning the art world of the go-go 1980s to the recession of the 1990s, is recounted here. Artists, gallery owners, auction houses and collectors all play a role in this tale that illuminates not only Warhol the person - and his place in art history - but also the machinations and marketing that fuelled his celebrity, driving the price of his paintings to the top of the market. As an industry insider, Polsky reveals the relationships that make the art world go round. This book presents a behind-the-scenes look at that world - a look that reveals it to be filled with humour, hypocrisy, gossip, greed, manipulation and money.
Críticas: So what was it like to be an art dealer in the go-go ‘80s? California-based private dealer Richard Polsky drops some juicy anecdotes into an account of his quest to add a Warhol painting to his personal collection. The title of his book, I Bought Andy Warhol, is a wink-wink reference to a film about a disgruntled Factory member who shot the artist in 1968. Polsky’s attitude is wryly bemused as he recounts tales of practical jokes, petty grudges, peculiar dining experiences, and other indignities that befall a little guy in a world of sharks. The cast of characters includes heavyweight New York dealers Ivan Karp, Jim Corcoran, and Larry Gagosian as well as mid-range collectors and artists better known in California than in Manhattan. Warhol himself makes no personal appearances, though Polsky assiduously tracks fluctuations in the superstar’s market value. Along the way, there are useful nuggets ranging from questions a potential art buyer should ask a dealer to typical auction house pricing strategies. The author is a likeable character who demonstrates surprising candor about trying to make a living in the early ‘90s, when art prices plummeted. While some readers may be taken aback by Polsky’s relentless stress on the monetary worth of a work of art as opposed to its aesthetic value, his book is a gossipy account of running a unique kind of business, selling one-of-a-kind products in a highly volatile market. —Cathy Curtis
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