Mr. Sehgal, 31, who lives in Berlin, creates what he calls “staged situations”: interactive experiences that may not even initially declare themselves as works of art. Take “This Is New,” in which an attendant quotes a museumgoer a headline from that day’s papers: only the visitor’s response can trigger an interaction that concludes with the work’s title being spoken. Or “This Success/This Failure,” in which young children at play in an empty room attempt to draw visitors into their games, and after a certain time decide themselves whether the result has been a success or a failure. Or “This Situation,” a more complex piece, with six adult players, which opens at the Marian Goodman Gallery on Friday and is Mr. Sehgal’s first New York show.
Part of the point is to free art from the glut of material overproduction. But Mr. Sehgal, unlike many performance artists, is not protesting the art market itself. His work is specifically conceived to function within the art world’s conventions: it is lent and exhibited, bought and sold. It is sold, in fact — now that Mr. Sehgal is becoming a star in Europe — for five-figure sums
Our past two posts, (William Verdult Forces for Change and Positive and Negative Forces Affecting the Verdult Art Market ) examined the factors and forces both positive and negative that impact the Verdult Art market. In this post, we pay special attention to using a Force Field Analysis model to see if we can turn some of the Negative forces into positive forces. Our ultimate goal is to is to increase Verdult brand awareness, acceptance, and value for investors and shareholders.]]>