Christopher Benson, whom I interviewed a couple of years ago, recently sent me a link to his Substack, Slayer of Windmills. His most recent post was an insightful review of a retrospective exhibition of drawings and paintings by Anthony Terenzio, an important Connecticut artist I was previously unfamiliar with. It’s a great read, and I highly recommend it. While exploring his Substack, one essay stood out to me: his December 2024 piece, The Devil at the Crossroads. In it, Benson offers a candid and deeply personal meditation on the tension between artistic integrity and commercial viability. His experience of being let go by a gallery is not framed as an act of betrayal but rather as an inevitable consequence of a system where the needs of the market often run counter to an artist’s pursuit of growth and depth. He acknowledges that galleries seek consistency—a recognizable, marketable brand that keeps collectors engaged and sales flowing. Yet, as an artist, he finds that the ...
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