A few days ago the Frieze Magazine’s Twitter profile posted this thought: “Art world addicted to unpaid work, survey finds.” with a link to their [article](https://frieze.com/article/art-world-addicted-unpaid-work-survey-finds). Packed with gems like this: “working for long hours was regarded as a test of commitment, such that working contracted hours is perceived as not wanting to go the extra mile”, the short text made me think.
Is there really no better way of testing people’s dedication and love for their work than making them work after-hours for free?
Knowing does not equal doing, but feeling almost always leads to action. Because emotions are actions, physical states of our bodies (you can’t really feel sad while running a marathon) and while using facts to persuade someone may or may not be an efficient way of communication, if instead we use emotions, we have an incredibly higher chance of getting our point across. And who better to know the fine art of communicating emotions than us creatives?
Jasper Johns’ first show at the Castelli gallery was an enormous success for the artist and started off his career in an unprecedented way. But they exact method used by Leo Castelli (one of the biggest galleries to have ever walked the streets of New York) was remarkable and incredibly simple at the same time.
Continuing yesterday’s podcast post about communication, I would like to focus on a crucial point that I see might well be one of the greatest misunderstandings of communication in art: syntax does not equal semantics.
Because you could be making the most wonderful umbrellas the world has ever seen, but if you decide sell them in the Atacama dessert, you might just start believing that no-one needs and umbrella, while the guy in front of Notre Dame sells hundreds of cheap chines-made ones to tourists, the second it starts to rain in Paris.
The number of people producing art has never been higher and with everybody including your aunt trying to sell their work and get exhibited, only the best actually manage to do so in the end.
But the issue with art is that beauty is incredibly subjective and there are more concepts and ideas than there are beliefs in the world, so defining the best people in the art business is incomparably harder to do than finding the winners of any sports competition.
We all have probably experienced that “click”, a moment when things suddenly fall into place and the big picture finally becomes clear. These “clicks” tend to happen randomly and it may seem like no real method is behind the convoluted internal workings of the mind — but as with everything in life, our cognition does follow a certain mode of operation.
We creatives are curious by nature, which makes us lifetime learners; constantly trying out new things and always expanding our skillset. Everyday we find something new, some spot of life where we haven’t ventured before and usually the first thought that comes to my mind, when in such a place, is how can I understand this or that? How can I conquer this newly found interest and grow?
The tag word today is ideology; every piece of art has its own story and thus its own bit of ideology infused into it. And the main question for all of us artists is: “How can we either become part of an already established ideology, or even how to make our own?”
The point of this is quite straightforward and based upon an interesting phenomenon that pertains to objects in general, but especially artistic object in particular. So, before we venture into the how, let’s try to explore the why fist:
Rather than waiting for destiny, I am a fan of action, but the problem with a lot of us is, we are constantly searching for that one piece of information that will change our lives. Now, what if I shared with you today exactly that information? Would you be willing to really give it a try and see the transformative powers of finally having the right mental and physical tools to conquer your dreams?