The work with the greatest impact in recent years has been directed by SaThe Economist under the title Seven days in the art world. A detailed analysis and fun, a “reality show art” as described the New Yorker, translated into many languages fads – literally as figuratively because you could also know the brand of clothing for people in this famous décrites- market for contemporary art. Sarah Thornton reiterated by publishing there are few and so far only in English “33 artists in three acts” in Thornton. Sarah Thornton is now a leader of the international art microcosm.

Yet the result is bad. A book that seeks nothing to show, writes in a monotone purring. The book even hit by lack of construction since it follows the author in these meetings sometimes to repeat Koons and Murakami for example. She wants observer of the world of contemporary art. We read the story of a mute camera. Yet there are some valuable sentences:

P XIII: The introduction is even clairvoyant I believed prepare me to read a great book:
“In a sphere Where anything Can Be Art, There Is No objective measurement of quality, so ambitious artists must suit les Their Own standards of excellence. Generating Such standards requires not only tremendous self-confidence, the confidence of others purpose. ”
This is the key to the market for contemporary art. There is not a “scale” technique as until the early twentieth century, the relevance of the artists. Everything depends on a circle of initiates who attribute their judgments and that principle must show compelling and flawless. Yesterday they were art critics but no longer reads. Today they are art dealers or advisers.
P 7: I appreciate that comment on the enigmatic and produced by Jeff Koons. Low voice, not a word louder than the other to speak either sex or Picasso or both:
“Koons discourse is so pat That you feel you are in the presence of an acotr playing the role of an artist. The artist’s Lack of sponataneity comes across as earnest and synthetic injustement than natural and honest. “

It shows, however, his mind a little further.
P 17: “For a gay man Warhol’s relationship to reproduction is very interesting.”
Reading a scene devoted to Maurizio Cattelan as the narrator seems particularly appreciate is interesting to description of the New Yorker inside Cattelan: “The artist lives and works in a spacious, one bedroom apartment in a ten story loft conversion in Chelsea (…) Obviously Cattelan does’ t do much entertaining, as the sparse furnishings Consist of wide gray couch and a miniature table Surrounded by small metal furnace flesh That Could not confortably accomadte anyone over the age of eight. »

The book also contains general unworthy of interest such as:
P 163 about the excellent Belgian artist Francis Alÿs moved to Mexico and more generally of artists who change country. “Emigration helps em escape the burden of Their cultural heritage and embrace identities That They Might Otherwise feel inhibited to assume.”
The discourse about Marina Abramovic is curiously filtered. The artist is extensively described except for skin treatments and cosmetic surgery that she has obviously use.
Also today Abramovic sells items that refer to the same performance and performance as was the case two years ago at the fair in Basel. Thornton wrote yet
P 291: “Abramovic HAS never sold her performance.”

The book ends with a 377 per cent of its platitudes that makes you regret having persevered to the end. She cites the artist Andrea Fraser: “I’m not single. I’m just a Particular instance of the possible. “

As was said Sehgal to the actors in his performance of the Venice Biennale when occupied the German Pavilion: “This is so contemporary; so contemporary, so contemporary “…

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