Art

Art

CONTEMPORARY ART OR ART MARKET?

In recent years, we can observe the process of the “Creation of Artists” all over the world. Unfortunately, in this course “Art” is relegated to a simple marketing product.

There are, in fact, many galleries of international or of even minor importance, very dynamic in exhibitions of dubious “Works of Art” surrounded by lots of critics, often friends of the gallery owners, ready to elevate an artist to a star in the Art World, filling pages and pages of magazines with specially made editorial services.

In this way, a trendy artist with little or no time on the market, is “created”. Thus, dozens of art collectors who, in most cases, do not understand much about art at all, buy the artist’s works, with exorbitant, unrealistic and overestimated prices. Also, to justify the validity of the artist, strategies are studied for the presence of his works in auctions, not to verify their real appreciation, but to validate the price for collectors and media.

In any case, the impression of amateurs, collectors and museums must be highlighted, knowingly having bought at inflated prices, they keep alive the hope that perhaps they are making a profitable financial investment, which, in time, see a fair remuneration of the invested capital. “Serious” galleries still exist, but there are very few. The same argument can be applied to the artists, the real artists, who are often unable to sell their artworks, because of the prices, which are hardly understandable and accessible to the general public.

Investing in artists such as Picasso or Van Gogh for a rich Arabic Emir or a new Chinese rich man, is very easy; it is utterly difficult to make a good investment on a “built” artist, considered very risky and uncertain.

Contemporary artists are the first to create this uncertainty. Everyone has gone to several exhibitions of “minor artists”, and everyone often has the feeling of seeing the same things, perhaps made with different techniques, but the same nonetheless. Passing off obscure installations for works of art, with sunsets, boats, landscapes, human and animal anatomy is their technique. Everybody declares to be an artist, and surely, he is, but not everyone understands the difference between art and decoration, between a work intended to arouse emotion over time and a picture that will see its greatest glory in a living room, perhaps because it is well-sounded with the colors of the wallpaper or is the right fit to fulfill the glorious task of covering the light counter.

All of us can be artists, just brush color on a canvas, then again, giving emotions is a gift, not a conquest. If you have this gift, with time, technique will definitely improve. That’s why most galleries in the world only sell important artists; for those who are not, they create illusion and false expectations.

With this premise, which may seem pessimistic at first sight, we want to analyze the problem of promoting good artists; talent or passion is not enough to emerge and attract the attention of the art market, meaning to market the vast crowd of people interested in the purchase of works of art, and not just that of collectors or gallery owners. There is a need for the artist to know how to sell himself, because this market, once reachable by a few, is now saturated with artists, very often without talent, but with excellent commercial and marketing skills.

Often the talented artist, the real artist, remains in the darkness for many decades, relying solely on the promotion of his trusted gallery owners and therefore, he will remain without positive results, both from the artistic and economic point of view.

At the same time, if he decides to introduce himself to some new galleries and go with his own portfolio under the arm, this decision will be counter-productive for him. Moreover, the direct action through technology, social media and personal websites, allow the artist to have a firsthand look of the appreciation for his work: a global turnout.

The artist needs to return to the spotlight, creating a focus on his work, without fear of mistakes or, worse, to conform his talent to the market demands. By direct experience, most of the artists who have “adapted to the market” have always suffered intense delusions, fascinated by easy gains and little production.

It is no longer enough to rely on a gallery owner who acts as a cultural promoter: it is “The Artist” himself who has the task of getting involved and covering that role, becoming more and more self-employed.