Episode #3 Graeme Luey: Tropics Flood His Graphics

Being a Graphic Designer has been an exploratory career for this Creative Professional. Graeme has been a director of a Toronto Art Gallery for over a decade, and has now found his footing internationationally in Mexico. What led him to bringing his innovative business south of the border?

In this podcast we dive deep to discover what is behind the fabric of his creative practice. What drives him, what made him choose this direction in the first place? Join me as we uncover what influenced his style to use reclaimed materials? What does working with Artists really entail? How much has his creativity inspired others in the process? 

Join me in this Podcast where we learn how Creative Directors think beneath the surface of the gallery ensemble. Where did his roots in being an Artist originate? How does Graeme see the transgression of his career over this last decade? Did he see changes in the Toronto Art Scene? Was the Hashtag Gallery a part of it? How did the ebb and flow of creative styles in the city influence his practice? Or the Artists in his rooster?

You can enjoy more of Graeme Luey art: https://www.artsy.net/artist/graeme-luey

Podcast Interview Credits:
Sound Effects from Pixby
Audio Links from https://freemusicarchive.org/
Podcast by Carolyn Botelho

Connect with Graeme Luey:

https://www.instagram.com/instagraemeluey/

Transcript

Carolyn Botelho  0:05  

Hey everyone, welcome back to the Creatively Thinking Podcast. Join Carolyn Botelho as she uncovers the inspirations behind some incredibly creative minds that are already in our local communities. Hello, everyone. Welcome back to the Creatively Thinking Podcast. And today we have a guest with us the multi-talented Creative Director and graphic designer from Oakville, Ontario. Graeme Luey. And he's now based in Mexico City, Mexico. Can you tell the audience how this came about? How, what is the reason you chose to go down there? And what led you to Mexico as a Creative Director? Hey, Carolyn, how are you?

Haha, I'm good. 

Graeme Luey  1:03  

How I came down to Mexico. Well, I came down with a few friends just to work remotely. In January of 2021. The idea was to come down for three weeks to a city called Merida, which is in the Yucatan. And while we were down here, Canada put a COVID hotel in place. And they were saying it cost $2,000 to come back home when you got to the border, and take a COVID test and stay in a hotel for three days. 

Carolyn Botelho  1:35  

Oh, wow.

Graeme Luey  1:36  

 And it was cheaper for me to just stay in Mexico for four months than it was to come home at that point. So I also was only there for three days when that happened. So they, the rest of the friends I was with, panicked and went home three days later, and I still had two and a half weeks left on my trip. So rather than canceled the rest of the trip and spending all the money just to fly home right away. I decided to stay in Mexico and see how that worked out. I just figured if I was gonna be stuck inside quarantining that I might as well be somewhere warm and not gray and miserable in February and trial. So I flew down to Puerto Escondido, which was a surf town. And I took a brief trip to Wahaca city and then back down to Puerto because nothing was really locked down here. They were still pretty open, they still had masks in place, and COVID protocols like temperature checks and sanitizing your hands, stuff like that. But they were keeping it somewhat open so that people could kinda still, within reason, go out and do stuff. So I was able to still go, you know, go to the beach, hanging out down there, swim, and go surfing. All stuff that was still, you know, socially distanced, or, you know, so to prevent the infection. But yeah, it was just it was a little bit more open here. And an outdoorsy so yeah, I just while I was here, I just liked it enough. That on my way home in June, I stopped in Mexico City for five days and then went to visit a friend in in Playa Del Carmen. And before going home, and then realize, you know, kind of what I was in Puerto and in Mexico City, that I didn't really have any reason to go back to Toronto, necessarily, aside from friends and family, but I can always fly back and visit. But down here, it was just so much more, you know, friendly people. It's a little bit more easygoing. The weather's nice most of the year. I don't have to put up with the winter, which is not a season that I enjoy. So yeah.

Carolyn Botelho  3:44  

Yeah, I could definitely say yeah, that's that's not a fun part of Canada. Is our Winters.

Graeme Luey  3:51  

No, yeah. I've never enjoyed that. So. Yeah, so I made the decision to get rid of a bunch of stuff, store some things back home, and come back down to Mexico City and see what happened.

Carolyn Botelho  4:06  

Okay, wow, that's yeah, that's a that's a good story. That's just Yeah. Get get to the good weather. Right. And then figure it out from there. Enjoy the good. The good weather. 

Graeme Luey  4:19  

Exactly. Yeah.

Carolyn Botelho  4:20  

So Graeme, we we have known each other since just before you started as the Director at Hashtag Gallery in Toronto, Canada, a gallery devoted to bringing the brightest talent to Toronto together. Could you tell us when you were starting out in graphic design, what caused you to choose this road as a Creative Director? Do you love working with Artists? Curating artwork? Or was it something else that made it more of a natural fit for you as a career path?

Speaker 2  4:52  

Oh, well, I started out doing freelance graphic design when I graduated from OCAD Um, it's always a, it's always a tough slog going through a lot of that stuff and trying to find clients and projects. And there's also the frustration when you're starting out that a lot of people will just go to an already established design firm, because they have an official company set up they got clients already. And so, you know, having someone take a chance on an individual is always a roll of the dice. And that was, I found it really frustrating. And I did work as a graphic designer in the advertising department at the Toronto Sun, which was, I don't know, working, there was exactly what I say, We're never going to be like, but I mean, that lasted for about nine months, and they downsized positions in the department. And so I went back doing freelance stuff again. But  ou no, I went, I went to school for graphic design, because it was the kind of degree that you could get, and then hand a resume in, at an office and get a job from as opposed to find Art where you're, you're doing your own thing, and you're creating, and you're doing what you want to do. But it's not necessarily a full time job. And I guess the way that I saw it was more, you're spending all this money to go to school, you should be getting a full time job. Paying off those, well I didn't really have any debts. I worked the entire time through school, cooking and working at a law firm. So I worked all the time to pay off the student loans as I got them. But I didn't, nine to five just wasn't what I wanted to do. I hated every single minute of it. So the combination of getting a few graphic design gigs here and there, and then working part time in kitchens. Eventually, I was just like, What am I doing, I like making Art, I want to make Art, I want to help...

Carolyn Botelho  6:47  

Yeah.

Graeme Luey  6:47  

 ...all these people that I went to school with who are in similar situations where they would, you know, be super talented Artists, but they would go to a gallery and say, hey, I want to do a show, here's my portfolio. And then the gallery would turn around and say, Well, you're not a, you know, you're an emerging Artists, we don't deal with emerging Artists, you need to have, you know, three, three shows on your CV already, or whatever it was, in order for us to even look at you or you don't know the right people, or, you know, you're not part of our club. And I just thought that was really stupid. And it sucks for a lot of Artists. And they get, you know, to have that balloon deflated, I guess as it were, they are being on site and making quality artwork, and then having people turn around and say, Well, no, you're not already part of the club. So you can't, you can't come in. So I decided to start my own space. And, you know, take the excuse away. So we, the idea was to have a professional looking space that people could show their artwork in, get those first two or three shows under their belt. And then they could take their portfolio to a bigger gallery that maybe is more reputable, and ask them and say, hey, look, I've already done these shows they sold really well. People like the work the artwork, it's less of a risk for you to take a chance on me and get a little experienced.

Carolyn Botelho  8:04  

That sounds great. Yeah. And like you should you've stopped that that hurdle for Artists that that they were running into, like it was like a, like a wall that they were hitting as Artists. Right. And that's, that's great.

Speaker 2  8:16  

It was a hope. Yeah, to help to help take away some of the barriers of entry.

Carolyn Botelho  8:20  

Yeah, reading about your background. Baboon Attack Studios is listed in your credentials. Was this something you were working on when you were in school? Or was this a precursor for what you eventually began with? Hashtag gallery? How do you find these two parts of your career overlapping? Or were they completely separate?

Speaker 2  8:42  

They're separate. The Baboon Attack Studios was just a kind of a fun name that myself and my my business partner Adrian came up with. He was, he went to graphic design school with me at OCAD. And we just thought it would be kind of, something that would stand out a little bit that was kind of a fun name. It was named after a kickball team that I had when we were playing some pickup games. And we just thought it was kind of catchy. And we would use it to stand out from the other places. But like, our studio is just the two of us that kind of do stuff. So it's when different website design projects come up. The two of us will split the work on that. Usually, but other kind of work, like, you know, packaging or brochure design kind of stuff. We just kind of take those on ourselves. But you don't really need to team up on a lot of that stuff. But

Carolyn Botelho  9:27  

Yeah, kind of like a side hustle at the beginning kind of thing. Just getting started. Yeah.

Speaker 2  9:33  

Yeah, it was just kind of fun to to register a business and not just be under our own names. Yeah, yeah we still we still do stuff from here and there, but it just kind of on the side. It's not really hasn't been a main focus lately. The last project we worked on was designing a typeface. So we have I think about five of them done right now we just have to, the idea was to do two more I think like an ultra, ultra Bold, Italic and ultra thin Italic And a regular font, and when the rest of them were done, we were gonna figure out how to properly like, get a font out there in the marketplace. Because to be able to

Carolyn Botelho  10:09  

When you started this path over a decade ago, how did you see it's success unfolding? Did you have a business plan that fell into place? Or was there a lot more coordinating and decision making that you didn't expect? When you first started? Were your your connections with Oakville important for this shift in your career? Or would you say, OCAD connections played more of a role? Or was, or was, Or was it more complicated than that?

Speaker 2  10:36  

I'd say it's a little more complicated, but also a little easier than that. I mean a lot of the stuff, like I went to school for graphic design, I didn't go to school for, you know, running a gallery, or being a gallerist. So a lot of it was learning from what other galleries had been doing. Asking a lot of questions to other gallery owners, people that I had known in the past that do stuff, or were doing something similar to me. And then just kind of doing a lot of reading and researching and, you know, figuring out how pricing works, finding, you know, talking to salespeople, like see what their experience was like and under galleries. But then honestly, a lot of it was just making it up as we went along.

Carolyn Botelho  11:21  

Yeah, figuring it out, right. 

Graeme Luey  11:23  

It's, you know, we did write out a business plan, we had certain things we were intending on doing. But then once you start actually doing those things don't always happen, the way you plan it out, you can always make estimates and assume that you're going to do things like. I mean, one of the things we were planning on doing was having one, one big party every month that we sell a lot of bunch of beers. And that will bring in you know, like $1000 bucks or whatever. That stuff, that part didn't really happen. Because the first location we had, the neighbor who lived next door would call the police on us if there was any noise whatsoever after 7pm. So like, yeah, so stuff like that, obviously, we couldn't have a party, even though it was you know, 11 o'clock is kind of the given curfew kind of time for sound in Toronto, we had a neighbor that would constantly call the cops on us if it was yeah, like noisy after 7pm on a Saturday. So, you know, stuff like that kind of put a wrench in our plans. So that was a big part of it. And then, you know, just things that come up as you go along. You don't really like the unforeseen things like, you know, your toilet exploding, or whatever, like, random stuff, like that'll come up that, you know, you don't realize how expensive it is until you've gone through it once or whatever. But certainly, there was an original business plan, we had ideas all written out. And then reality kind of comes in, you got to just make things up as you go along and adjust and adapt, basically. But I mean, in terms of connections, connections everywhere important. That's, I mean, in my opinion, I would say that's probably the most important thing in any business is just is who you know, and especially in the Art world, because the whole thing is mostly gatekeeping by people. So, yeah, whoever who, you know, is more important, and collaborating with people is as important. And, you know, even something like getting an outside Curator, that's not, I mean, I curated most of the shows, over the 10 years, that we were in Toronto, but probably inviting in a Curator once in a while, that wasn't just me, would have been a great idea. And we did that sometimes. But we probably should have done a lot more because teaming up with somebody else, you're obviously gonna get more of a crowd coming into your space that doesn't already know you. And someone else is excited about the show. And, you know, they're trying to make money off as well. So there's motivation from them to make it all work and to advertise it properly. So.

Carolyn Botelho  13:51  

Well, it sounds like you had to do a lot of thinking on your feet when you were, you know, just getting started with all of this a lot of unexpected sort of things happening. 

Graeme Luey  14:01  

Yeah. Yeah. And the way that we run our gallery was how we wanted to run, we didn't really run it the way that everyone else...

Carolyn Botelho  14:13  

Yeah.

Graeme Luey  14:13  

 ...runs, their's necessarily, and the intention was never to be exactly the same as everybody else, which I think is why it worked so well. Doing what we were doing in Toronto, especially for the first like, you know, five or six years of it, because it was still fairly new on the scene. And there wasn't as many other galleries doing similar things that we were doing. So it was a different type of gallery, a different type of show. Um. And we were a little more experimental with how we hung shows in the space, and what type of events we did in the area. So it was yeah, it's something fresh, I think, at least for a while.

Carolyn Botelho  14:22  

Where were you mentally when you started this journey? Would you say you have grown so much since your first days as a Director? Or would you say it has become predictable and very regular in the gallery workload and content, how has he kept you on your toes creatively? Or how has your journey creatively evolved over time?

Speaker 2  15:12  

Well, where was I mentally when I started this journey. Well, I've never run a business, where I had a physical location before. So, I mean, I've always worked for other people. So obviously, switching over to a gallery where I'm the one that's in charge. I've had a few business partners along the way to, I'm not saying they didn't do anything. But again, it comes down to like I was saying, we just kind of made things up as we went along. As in, if I went into a gallery, this is what I want to see. So, let's just do that. Rather than trying to stick to whatever everybody else is doing and putting, you know, like, evenly measured out pieces along the wall and lots of whitespace. Like, you know, why can't we hang things really high or really low or paint a mural on the wall that goes along with it show? Stuff like that, that was more interesting. So in terms of that, like our mental state was 'Let's  do what we want', people will come to us

Carolyn Botelho  16:15  

Sounds more experimental, what you guys were... 

Graeme Luey  16:18  

Yeah, that was kind of the hope is that we do more experimental shows and stuff that people come in to kind of immerse themselves in as a more of an experience than just coming in and seeing Art on the wall. Which of course, there's nothing wrong with, like I like going into galleries and seeing just Art on the wall. as well. But yeah, the goal for us was to make it a little more interesting, a little more intriguing. And it didn't really matter what the other places were doing, because we were already open. And people already liked what we were doing. So there's no point in sticking to what the rules are, because we didn't really care. But in terms of, you know, how it was grown as the first day, I think it was probably partly getting over that first hump, like I was saying, of not really caring how to do it properly, and realizing that that's okay. And keep doing what we're doing. Because none of us that's starting the gallery, went to school for directing a gallery. But as we went along, you realize, that, I mean, I think this is kind of the case in a lot of places that even though people are adults, they're still just making it up as they go along. They don't really know what they're doing half the time either. So doesn't really matter if that's what I'm supposed to be doing. I can, I can still do it. I mean, as long as we're paying the bills, and we're not, you know, it's not costing us money every month, it's fine. We're still building a community, we're still helping Artists that need the help. You know, we're still making a little bit of money some months, you know, some months you're not that's kind of how a new business goes, right? So, oh, workload, in terms of workload, you get used to that kind of stuff. Like, once you get things into kind of a schedule, and you know, what has to be done on a regular basis, it's just a matter of doing it and breaking it down to small chunks. And then you know, someone else like business partner, whatever isn't keeping up their end of the deal, you got to kind of take over and take on that workload as well. But hopefully, Everyone ounts  and works along and does their bit  and yeah it all comes together.

Carolyn Botelho  18:13  

When did you become connected with the Broken Cage Gallery in Toronto, Canada? When did you start using upcycled materials? Or has this material been a focus in your artwork previously? How has this inspired or caused you to be more reflective and minimal in your content? Is it connected to your understanding of social media and its involvement in our daily lives?

Speaker 2  18:41  

The Broken Cage part. Ah, I met Eric when he Well, I met him through a friend at a different like Art show. And then he opened up Broken Cage Gallery. So I went to their grand opening, was chatting with him. Because I used to do a monthly meetup with a bunch of about four other galleries in Toronto that were all, ah after we opened up. They were kind of doing something similar to us. So we used to get together and kind of just chat about gallery stuff. And just, you know, what are people doing right? What are people doing wrong? Can we help each other out? How that goes down to like, it was it was us and the foundry gallery or not founders. Oh, Creative Blueprint, sorry, Creative Blueprint was the name of the of the gallery that was what it was. Patel's gallery was they had him and two other parts of the gallery, and then a few others. Anyways, the five of us would get together and just chat about gallery and stuff and try and help each other. I brought on a couple of art fairs. And then when Eric opened his gallery up, I was chatting with him saying, Hey, you want to meet up with us and join him and stuff. And he came to  one of the meetings we had, but anyways, the reason why I was working  with them um more. Because I have a bunch of screen prints that I made during COVID. And when I moved down to Mexico, I couldn't bring them with me. So I just asked him if he wanted to represent me as an Artist at his space and take a couple copies of each of these prints, to try to sell for the gallery and make a little money for himself.

Carolyn Botelho  20:18  

And we'll be right back. And we'll be right back.

Graeme Luey  20:30  

Yeah, yeah. So creative, Creative Blueprint, it was a Graven Feather. Andrew Williamson had a gallery on Roncesvalless. And then the one that Devon Patel and Cal, and Alex started that was in the East End,  But they were doing, they were doing new shows every two weeks or something like  that. And then Devon, I think broke off into his own. He's doing his own thing with another gallery, or Patel Brown Gallery, I think it's called now. And then one more, I guess, when Emily opened up her gallery up to the one that's on  Roncesvalles, now Roncesvalles. Northern Contemporary that was the other one to. Northern Contemporary Gallery. So yeah, we were all together for a bit. With recycled materials. I started using that a long time ago, because I realized that I was buying a lot of art supplies, and they were just sitting around in my apartment, and not being used. And I made a new project or had a new kind of series of Art work in mind that I wanted to create, I would go out and buy new materials for it specific to that project, rather than going through the materials I already had. And a lot of it just ends up being wasted, because you've got markers that dry out or paint that is half used in a tube and you can't really get the rest out, or it dries out, or whatever. And so, and especially during COVID When I couldn't, I mean, I started making these piece in 2018, It way before COVID. But it probably came because I had a bunch of canvas that I had found, or that the landlord at our gallery was throwing in the garbage. Because it had a little bit of mold on the bottom. And it was a whole bolt of canvas. So, it was perfectly good. And it was designed for outdoor furniture. So it was good, sturdy material. And then I realized it had a lot of like canvas stretcher bars around from old paintings or other Artists that I know that were just kind of hobby Artists would have stuff like stretcher bars lying around. And I had a bunch of house, house paint in my apartment storage room area that wasn't being used. So that's kind of where I first started using it was, well collage work to do collage work before that to with old surfer magazines. So collages, obviously, recycling materials. So I guess that's kind of where it started then I kind of realized that, you know, the house paint wasn't being used. It's perfectly good material to paint with... 

Carolyn Botelho  22:57  

Yeah, exactly. Yeah. 

Graeme Luey  22:59  

So, I started using the old, you know, half full paint cans was lying in people's garages, or, you know, friends had half full balls of spray paint, or whatever, or stuff like that, or they decided they no longer wanted that hobby of painting. So they have a bunch of half use paint tubes and paintbrush and stuff. So I just kind of inherited a bunch of stuff from different people at different places. And, yeah, then during COVID, I started making my own paper for stuff as well, to try to take it one step further than that. And I guess that's kind of where it's at. So the paintings are all made out of the canvas looks brand new, because one of the parts had mold on it, I cut that part off and threw it in the garbage, and then the rest of it I used. So yeah, I guess it was just at that point. It's just more about thinking consciously about what you're actually using to make Artwork out of because it's not really necessary to go and buy new things every single time. And so the points kind of like trying to get that message across to other people saying, you know, when you're making stuff, think about it. I'm sure you can figure out a way to do this without going out and buying brand new stuff. Every time you do a new project.

Carolyn Botelho  24:07  

Yeah, it's like reduce, reuse, recycle, right? Yeah, exactly. If you just use just use what you have make sense. How do you see your influence as a Director at the Hashtag Gallery has influenced or impacted other Artists, as had been your style or your Curatorial experience? Or something else? Was this how you wanted to be involved with Artists rather than primarily being an Artist or Designer? Or do you like both sides of the creative process?

Speaker 2  24:37  

I'll start with the last part first here, I would say I like both sides of the creative process. I mean, I really enjoy seeing other people's Artwork and if I can bring their work in my own gallery and do a show with it, that's even better. But I also like making my own Art. My, my overall goal is to stop doing design work, and just focus on my own creative stuff. Whether it's you know, using design to make stuff like screen prints or whatever, or whether it's, you know, I guess going the other side of the Art Spectrum and being a fine Artist where I only paint or whatever my plan is to keep doing multidisciplinary Art practices or Art projects or you know, series. But I do enjoy the aspect of throwing the shows and having people come over to the gallery, meeting all sorts of new people, you know, hanging interesting show that people come by and say, Hey, this looks amazing. Taking Instagram photos in front of, posing for portraits with stuff like that, there's always sonething nice about that when you know, people are responding to it. And that they they're enjoying themselves when they come into the space. In terms of influence, I don't really ever think about that, to be honest, I'm sure that I have. And I have had Artists that, you know, come by later and said, Thank you so much like the show, you know, has let me do other things in bigger places. Or because my show sold out here, I was able to get a contract with, you know, like Nike or something like that doing a creative ad campaign or something. Like so like, that's up does kind of pop up. But I never really think about that to be honest, I'm sure that there has been some kind of stuff. And I'm sure I helped a bunch of Artists. But I mean, not everyone comes up and says that. So I don't really know offhand which ones. You know, because if it was because of me, or, and I don't really care it was because of me or not, as long as they succeeded at the end of the day. That's all that really matters.

Carolyn Botelho  26:26  

When you look back on these last 11 years, since the Hashtag Gallery initially opened, as a Graphic Designer and Artist based in Toronto, what changes have you seen in the Art business during your years as a Director of the Hashtag Gallery? Have there been any visible changes? Or has it been a gradual shift in style, and practices? Have any other Galleries you've become familiar with shown you any new techniques or strategies on how to run a gallery more efficiently?

Graeme Luey  26:56  

I've been taught how to make a gallery more efficient, probably I'm sure.

Carolyn Botelho  27:02  

I kind of realized you did actually sort of answer that some of that. Well, yeah,

Speaker 2  27:06  

I mean, in terms of like, tips and tricks and stuff, that was kind of what I was mentioning,when we met up with the other Galleries once a month, we just say, hey, you know, I found this new invoicing software, or something that works really well and it's free, like, go go check it out. Or, you know, I've started writing Artists contracts a different way. Maybe think about adding these into yours, these work really well for me, stuff like that. And like I was also mentioning, like, because we just make things up as we go along. I'm sure there's better ways and better strategies do things. But what we've been doing has been working. 

Carolyn Botelho  27:47  

Yeah, it's been working for you guys. 

Graeme Luey  27:50  

Yeah, it's working for us. And I think that at the end of the day...

Carolyn Botelho  27:52  

Yeah.

Graeme Luey  27:53  

... that's most of what you want to do. Most of the Artworld is networking right. So that's always, that's always the biggest part of it. So as long as the rest of things are moving along, and you're paying your rent, your hydro, and internet bills, and stuff, and people are coming in the doors to see the shows, and you're making sales. Whatever you are doing is, is good. There's always going to be ways to be making   a whole lot more money on stuff. 

Carolyn Botelho  28:23  

Yeah, 

Graeme Luey  28:23  

We're a little bit more of a grassroots, do it yourself type space. We've always kind of just done what we can with what we have and you know, get creative. But, ah I guess in terms of visible changes, I mean, changes in the Art world kind of come with whatever is in vogue, right? Like there's always certain target groups of Artists that are that are coming in and out of the spotlight depending on current political takes on things so obviously that's changed over 11 years from you know, one, one group to another group to another group to another group. I don't know if there's anything there's like super drastic I've seen I think everything's kind of does what it doesn't flows along; and you just gotta kind of pay attention to the Art world news and see what's popular usually places like New York or London or whatever the ones that are gonna be the tastemakers and telling people what's kind of what's in, or if you follow, like the results from Auctions. Yeah.

Carolyn Botelho  29:27  

Yeah, what's coming down the line kind of thing. Right?

Graeme Luey  29:32  

Usually what, you know people like places like New York or London or wherever, make kind of the choices the Art advisors there are the ones that kind of say what's in style. And you'll also see what people are buying through the Auctions, all the Auction houses. That kind of gives you an idea of what the the Art divide is that year, that month or whatever. And it seems like even like the high end Artworld, people used to you know, invest $50,000 bucks in a piece and then wait five years and then flip it at auction for a huge profit. Now it seems like they're waiting. They're buying the piece before the paints even dry. They're already trying to flip it the next Auction just make money off of it. So I think that's that's one thing I've noticed a lot lately is that it seems like pieces are being bought and sold quicker and quicker. And just to make a profit with So, but that's how it's always been; it just, you just don't hear about that quite as much, unless you're following Artworld news.

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