SF's GEN ART Haters Pour Forth

Never heard of them before but evidently GEN ART makes a big enough stink in the art, fashion, music and film world to have its own smear campaign.

Some local SF artists say the company "misleads artists and the public as to the nature of its nonprofit status and misrepresents how the large sums of money it brings in is redistributed and ... is disrespectful and unprofessional."

Sounds like a load of bitching from whiny culture poofs, if you ask me. Does anyone have any real dirt on GEN ART -- besides the industry-standard bullshit about no pay, mean curators, stolen stuff, etc.

Gen Art could not be reached at press time. - David Downs

UPDATE:
Gen Art to Haters: Who Are You? Let's Talk

GEN ART has a message to the anonymous cowards slagging them online. Essentially it's, "Let's talk, man. What's your beef?"

But the anonymous cowards aren't talking back.

Stefan Gerard, co-founder of local arts promoter GEN ART says the org is doing everything it can to clean up it's act, assuming someone would tell them directly what the problem is.

The GENARTSTORIES issue of the theft or damage of three works shown in GEN ART exhibitions since 2005 is being dealt with, he says. Two works were damaged, and one was stolen by an employee of a private security company tasked with protecting the works. (Editor's note: shit like this happens all the time in the arts. It's the risk you run letting grubby humans look at shiny things -- they want to touch and take them.) A GEN ART attorney has been assigned to deal with the security company. GEN ART has also contacted and is working with the affected artists.

As far as GENARTSTORIES's beef with GEN ART's for-profit wing, Gerard says their web site explains the different functions of the non-profit and for-profit arm, and it will work to make that info more clear. The notion that GEN ART is somehow milking local talent is sad, he says.

"The reality is that nobody gets rich here been doing this. For 14 years we've been a very lean organization. These exhibitions costs a ton of money and we pour all the money back into production for the work we produce. We do it to promote the work of emerging talent," he says. "[The for profit-wing is] an alternative way to fund events without relying on scarce public grants, and instead going after corporate money for marketing and sponsorships."

The goal is to bring what's underground, above ground, he says.

"Our shows are big and glamorous at times, but that is what is effective: to take the artwork we believe in to the audience who can appreciate it. It started in Brooklyn watching friends exhibit work in basements. Oftentimes, the value of a work is determined by the context in which it is seen. Until you can elevate the context, you're not going to be able to bring it to the widest possible audience. You have to bring it out of the basement and into the spotlight. Gen Art has always tried to put on shows that shine a light on great work and make that platform reach the broadest possible audience to further the artist's career."

Gerard would like to explain this to GENARTSTORIES, but no one will call or email them back.

"Basically they just stonewalled us," Gerard says. "They took us completely by surprise. In 14 years you'd think there'd be unhappy people no matter what your business is, but we never had anything like this happen. It was a surprise to us, a real disappointment to us. It was upsetting. It upset our staff and called into question why we are here, why we work late hours for little or no pay."

GEN ART wants to listen to and respond to any grievances by artists or curators, but they haven't received any directly, says Gerard.

So, the ball's in your court GENARTSTORIES. The Net makes it easy to start beef with people. Let's see if the Net can settle beef too. Because, let's face it -- we all got bigger shit to worry about these days. -David Downs