[“The Most and Least Wanted Paintings”](http://awp.diaart.org/km/painting.html) was a project done between 1995 and 97 by the artists Vitaly Komar and Alex Melamid. Their premiss was simple: Go out and ask a bunch of art consumers and non-consumers what they like. Take a large sample of their aesthetic preferences — colour, style, size, motif etc. — and make an average assessment of what the most (and least) popular works of art are and why. Then, make such art to be sold back to the masses and buy a yacht (allegedly).
They say good art captivates you, but great art can transform your life. But like with any sales pitch, the real question is: how much is the premium of going from good to great really going to cost me?!
With the commoditisation of paintings, sculptures and other wall furniture that one can buy on Etsy, a question pops up: Are we artists or artisans?
I think our main concern as creatives should be to first have a nice little talk with ourselves over some coffee and maybe a bagel if you don’t care about your carb intake and figure out the basics of what our craft is all about.
A well prepared CV is the corner stone of any application, but unlike financial advisors, marketeers and other professionals, artists can’t really do much with the standard form that so many others use — aka. we usually aren’t employed anywhere and McDonalds doesn’t really count.
You can also download my CV [here](https://www.matejtomazin.com/wp-content/uploads/2019/03/CV-Matej-Tomažin.pdf), if you’d like to see how what I yap about looks in real life.
Speaking from personal experience, the only really important thing people told me to do as an artist was marketing. But while this may be true, it shouldn’t become the only thing we do as creatives.
Contrary to common belief, art is not a material thing. There are no traits that an object has to posses to be deemed a work of art. But, that doesn’t mean that art does not need to be embodied in an object.
Communication has stopped being the exchange of emotion and has stagnated to merely an exchange of information. You don’t need to go outside to know the weather is bad, you don’t need to go to Rome to see the Pantheon and we have long been able to have social contacts with others without ever meeting them in person, but with Instant Video at the tip of your fingers, it really became more of a natural extension of our being and less a pigeon that might or might not arrive.
As art is subjective, we can never really take full control over how a viewer of our show or a customer who bought one of our pieces will understand the work’s narrative. A description of the work might help, but some actually prefer to make up their own mind about what a particular art piece means to them on a strictly personal level, rather than listening to the artist describe what it should mean. And there is absolutely nothing wrong with that in my opinion.
Just as everybody felt that Duchamp’s wall toilet conundrum was almost flushed out of the art world’s system, cleansed by Richard Long’s walking escapades, Ed Ruscha's thorough documentation of the Sunset Strip and others, here came Andy and presented the next big shocker: The Brillo Box.
While each person is different in almost innumerable ways, we all follow the same basic modes of operation and have the same needs, so knowing these needs and understanding them on a deep level doesn’t just make us immensely better artists, but also incredibly proficient spectators.
And to excel in art, one has to be both.