(“How do I look?” asks Ellie Rines in a widely circulated screengrab. Filmed with a forced perspective akin to the attack sequence in Jaws, the art world’s patron satan approaches all of the mid-tier gallerists and takes their photo. The film opens with our beloved Simco stepping into the Felix Art Fair in 2019. The villains were, naturally, my colleague Kenny Schachter, mega-galleries at large, and the most obvious art world villain of them all, Stefan Simchowitz, who, if you’ll recall, was infamously dubbed the “ art world’s patron satan” by T Magazine in 2014. This time around, the heroes were SPRING/BREAK co-founders Ambre and Andrew Gori, Jerry Gogosian memester Hilde Lynn Helphenstein, artists Jenna Gribbon, Charles Gaines, and Chris Watts, and *checks notes* Anton Kern. Like most of these movies about the art world, it chooses its heroes and villains with biases so overt it’d give Werner Herzog a run for his money. The documentary, made by the producers of The Price of Everything, purports to capture “a diverse group of compelling young artists on the brink of unimaginable success or failure as they challenge systems, break barriers, and risk it all with the goal of making it in an industry where all the rules are currently being rewritten.” It seems that most people who flew from New York to the City of Angels this week for Frieze watched The Art of Making Iton the plane. If you have a tip, email Annie Armstrong at. Every week, Artnet News brings you Wet Paint, a gossip column of original scoops.
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