Like the fins of a dolphin, this word has been on everyone’s lips. The practise of buying art cheap and selling it—fast—at crazy high prices has created its own subsection of the art world. The New York Times devoted features to the subject. Flippers and flipping was the trend people loved to hate (though, of course, it would be great to get 15% value increase per the last 12 months on their latest purchases).
The final result and finished product meant very little in the era of ‘work in process.’ Process itself became the main focus of 21st-century meaning—adding a dose of the performative to the basic act of creation. Often discussed in relation to process-led abstraction, this idea was the art version of labour—all about action and doing; none of that lazy thinking nonsense needed.
‘All the world’s a stage’, and every art fair, biennial, and gallery solo show is a performance! From ballet dancers in gallery booths at art fairs to young poets responding to exhibition concepts and settings, if you wanted your work to have any sense of authenticity you had to have a live element. Static work was dead in its heels in contrast.