As humans, we couldn’t have been more proud of the lineage of artistic mastery that our planet had created over the years, and we had every reason for it. From the Ancient Greeks to Giotto and Titian, then Caravaggio, Monet, Van Gogh and Picasso … all geniuses in the craft, that shaped how we perceive reality itself. But then came Duchamp.
To tie together the previous two blogs, I want to discuss what is in my opinion the highest and most complex function that art has in human society — the artificial creation of the experience of the sublime.
Yesterday I tried to break down the artist CV and all its features, but I just couldn’t stop feeling like I needed to address video too! So in today’s blog I would like to focus on video as a more informal, but incredibly powerful tool, to propagate your art and creative message.
What if we wanted to play basketball in the NBA, but decided that, because of financial constraints or other reasons, we just won’t be looking for any other players for our team and just going at it solo. So we’ll just go play a few games, try to score a few points, maybe even win a game (maybe we just get lucky or maybe we’re just that good at it) and after we get some money from sponsors or brand deals, we’ll then go and get some new teammates, that we can afford. Is this a reasonable approach? But why do we think that the same plan will work in other games, like the game of being an artist in 2019?
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.
If you’re just starting out, being part of an artist group is a wonderful place to be for many reasons. A group of likeminded or diverse individuals that practice a similar craft can be a powerhouse of creation, because of the mutual support and combined knowledge of all of its members.
But apart from the obvious creation of a think tank, where ideas can flourish much more easily than if we are going at it alone, a group can give us an incredible edge over the competition when promoting our work.
We use art to find similar souls amongst the masses of people; those who understand beauty and aesthetics in the way we do, those that are sensitive to similar impulses, that laugh at the same jokes and cry to the same saddening tunes. But many of us misunderstand how our soul-searching actually happens, when art is involved.
Regardless of how proficient a writer, painter, or sculptor becomes, no matter how much knowledge they gather up over the years, it will probably never really feel enough. The feeling of having to, but not exactly knowing how to be just a bit better, will stay and gnaw on the soul forever. And that’s fine.
I’ve talked a lot about the particularities of what a good application should look like and how to find galleries that resonate with your work, and now I want to get really tactical and try to make a roadmap of things to consider, when searching for representation.
[The Society of the Spectacle](https://amzn.to/2VB0QEr) by Guy Debord is a wonderful and angry book that speaks about how our society has diverged from the authentic human experience of life into an artificial spectacle of neon colours, action movies and weird romantic novels about glittery vampires and the glorification of sexual deviance amongst the ultra rich.