Exploring art as a living in history, now and then • Journal • Ricardo Di Ceglia
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Transcript of Exploring art as a living in history, now and then • Journal • Ricardo Di Ceglia
REMINDER:
▓ (green square) from research
▓ (orange square) my notes
Referencing, Bibliography, Research and Comments
CHAPTER I
Vasari, G., Bondanella, J. C. and Bondanella, P. E.
The lives of the artists
In-text: (Vasari, Bondanella and Bondanella, 1998)
Bibliography: Vasari, G., Bondanella, J. and Bondanella, P. (1998). The lives of the artists.
Oxford: Oxford University Press.
▓ p. 450 “..this occurred when Michelangelo, seeking the pope‟s permission to go to spend
the feast day of Saint John in Florence, asked him for some money for this purpose, and the
pope sad: „Well, what about this chapel? When will it be finished?‟
„When I can, Holy Father,‟ replied Michelangelo. The pope, who had a staff in his hand,
struck Michelangelo with it as he declared: „When I can, when I can: I‟ll make you finish it
myself!‟”
▓ This may be some sort of evidence to remind that we all have to work to serve our basic
needs. This implies that „free will‟ is an ideological term based on subjective parameters and
in practical/real life it doesn‟t exist. Whether you choose to eat an apple or an orange, you will
choose to eat one of them anyway.
Patrick, J.
Renaissance and Reformation
In-text: (Patrick, 2007)
Bibliography: Patrick, J. (2007). Renaissance and Reformation. New York: Marshall
Cavendish.
▓ p. 193 “Owing to his wealth and social standing, Tiberio Cerasi could afford a chapel in the
Church of Santa Maria del Popolo and, furthermore, could commission the two leading artists
of the day, Caravaggio and Annibale Carracci (1560-1609), to produce works for the chapel.”
▓ This is clear evidence that, at Renaissance, artists were mostly working for the church as an
institution, for it was the most powerful one of their time. This may support my argument that
power shifts, so art will always exist in a form of work. Nowadays this power has just been
shifting somewhere, like internet, and from the Renaissance till now I will track where and
how this has been happening.
McNeese, T. and Waites, J. C.
The Renaissance (1300-1500)
In-text: (McNeese and Waites, n.d.)
Bibliography: McNeese, T. and Waites, J. (n.d.). The Renaissance (1300-1500). Lorenz
Educational Press
▓ p. 21 “During the Renaissance, many painters continued to rely on Biblical and religious
subjects. However, just as scholars were discovering Classical Greek and Roman literature, so
Renaissance painters were painting scenes of Greek mythology, Roman history, and other
secular subjects.”
▓ Apparently there were no many options to expand one artist‟s creativity apart from:
aristocratic, religious and/or historical motifs like Greek references. For the requests were
commissioned in these sectors in its great majority, if not totally. Artists had no option to
survive and make a living from art if not serving aristocratic and religious powers of their
time. I want to conclude my paper in a simple equation that every artist can make a living
from art, I aim to track where the demand shifted to and why to unveil a final contemporary
equation. I will give evidence when arguing about my own experience in the field as well.
McAndrew, C.
Fine Art and High Finance
In-text: (McAndrew, 2010)
Bibliography: McAndrew, C. (2010). Fine Art and High Finance. New York, NY: John
Wiley & Sons.
▓ p.XX “Many historians mark the period following the Industrial Revolution, when art began
to become more widely traded and the primary role of the patron was diminished, as the
impetus of today‟s modern art market. The birth of a new middle class in this era brought a
new breed of collector to the art market who, for the first time, had both the time and the
money to collect art.”
▓ The Industrial Revolution is evidently a key factor for the birth of Modern art, subsequently
Postmodern Art and so on. Yet, it‟s from here that the most important part of my theory start
taking shape. Altogether with Industrial Revolution a very new, strong and very defined
equation of power&art was born: the industrialization of sectors, and not in a so metaphoric
way: the industrialization of the life style. The industrialized consumerist mentality nowadays
is everywhere, and so in art as well, adding the digital revolution from 1990‟s we got
something taken to the “life made banal” in people mentality, a danger and a facility that
fascinates, destroys and enriches civilians.
▓ p.XX+1”During the eighteenth century, Britain and France emerged as the major global art
markets and the key centers for trade, while countries such as Italy acted as primary source
markets for wealthy Europeans buyers.”
▓ England, France, Italy, Europe in general and North America. Ethnographically basing my
research in this parts of the globe I may find a good way to represent which are still the
dominant continents nowadays. Whether the power shifted among these countries, is not
relevant. Perhaps when the paper starts unfolding theories from 1990‟s, ethnography may
change conceptually, for internet broke the barriers of geographic location and the industries
rearrange themselves according to people‟s interest wherever they are in the globe. Through
internet and the post office, an individual (and/or a whole dedicated market) can make
his/her/their living depending exclusively from another‟s countries. The digital revolution in
my theory is of exponential importance as much as the industrial revolution was and still is.
One just add to another multiplying possibilities.
▓ p.XX+2”During the 1800s, a variety of factors caused a geographic shift in the art market
from London to Paris” .. “American buyers began to dominate the global art trade during the
recessionary bear markets of the 1920s and 1930s.” … “Paris had a temporary revival as a
world art center during the 1950s and 1960s: however, over the 1960s, New York and London
dominated, largely due to their established bases of wealth and economic power” …
“Although sales in many sectors were eventually affected by wider economic events like the
oil crisis in 1973, art was being increasingly bought by investors and speculators as well as by
collectors.”
▓ “Throughout the 1970s, the distinctions between the two international art capitals also
became more defined: New York took premiere position for the trade in sectors such as
Contemporary art, Impressionists, Post-Impressionists and others, while London was the
international center for Old Masters, English and French eighteen-century art, and Asian
antiques.”
▓ “During the global prosperity of the 1980s, all of the established art centers flourished, and
it became hugely popular and often very profitable to buy art.”
▓ Here a great example that a specific market never fades, but just shifts. There is a good
comparison here that, for example, the power of the traditional art gallery has been shifting to
sales made virtually in internet. But just to quote „internet‟ is already a too broad term, Where
and how in internet is possible to make a living from art? How long does it take? What‟s the
best strategy? What are the „numbers‟? I have got all these answers interviewing a few
contemporary artists and art collectors that actually make it work and will exemplify their
ideas in these paper.
▓ On 1970‟s some sort of power ethnographically shifted to the USA in Fine Arts, but this
was just a reflection of USA great economic growth, for art lives stronger where power is
installed.
▓ 1980‟s was just the last decade where art had its traditional places stronger: galleries and
traditional art collectors. On 1990‟s, with the beginning of the internet revolution, this power
started shifting to the digital world, or at least expanding, to a later definite shift. It‟s important
to quote that Art always had and will always have its place in the market, for it is an
experience to the observer, and it shall always be. And because of that it‟s important to quote
that art doesn‟t fade, never did and never will. It is a human need to consume art, whether it
diversifies in cinema, music and traditionally the fine arts.
▓ p.XX+3 “..in 1990 and 1991, the art market has steadily advanced in terms of volume and
value.” … “Although most international markets showed a slight dip in 2002-2003, from that
point until the end of 2008 the market as a whole and many of the categories within it, have
been on rapidly advancing paths of growth in terms of both individual prices and overall
aggregate value.” … “A particularly noticeable trend in recent years has been that fine art has
risen in value both in absolute terms and in relation to decorative art.”
▓ This may be probably due to the enhanced networking that internet revolutionized,
connecting buyers and sellers in a new sphere not existent before.
p.xx+7 “..the Contemporary sector was one of the worst hit within the art market in the fallout
of the economic crisis of 2007 and 2008”
▓ Here is where my theory shapes stronger: From 2007/2008 till now, internet is no longer a
solely option in the market, it has been becoming the rule. For example: some items we can‟t
find in the High Street, but we find it very cheap on eBay, just because trading websites have
been becoming more reliable since its start on 1990‟s and now the ordinary buyer once having
internet as an alternative, now is definitely migrating to it. Basically, in the Fine Arts, the
galleries are in crisis because, at some extent, their power invisibly has been migrating to the
internet.
▓ Here the good-enough mentality shapes consistently in the collective mentality: The
amateur artist finds a place in internet, and the amateur art collector is satisfied with the low
price even though the quality is not like in the galleries. This extends to everything, in music
for example a CD has less quality than a Vinil, and a mp3 track has less quality than a CD, but
the mp3 is practically for free, so even though the quality is much lower than a Vinil, it
becomes the best option for its convenience. Same for cheap plastic Chinese products etc, the
mp3 is good enough. Same for landline versus Skype: sometimes Skype quality is terrible but
we keep it as first option, because it is for free, and it‟s “good enough”, even though it‟s worse
than a mobile or a landline connection at times.
Beaumont, M.
As radical as reality Itself
In-text: (Beaumont, 2007)
Bibliography: Beaumont, M. (2007). As radical as reality Itself. Oxford: Peter Lang.
In-text: and in temporary manner where the artist’s face is ridiculed an mocked by the
media. Wilsher, (Wilsher M., 2009, p. 12) bitterly expresses
Bibliography: Wilsher M. (2009) ‘Beyond Public Art’, Art Monthly, 331(11), pp. 11-14.
==
Miller, H. and Miller, C.
A proper living from your art
In-text: (Miller and Miller, 2004)
Bibliography: Miller, H. and Miller, C. (2004). A proper living from your art. [England?]:
Artist Solution.
==
Menger, P.
Artistic Labor Markets and Careers
In-text: (Menger, 1999)
Bibliography: Menger, P. (1999). Artistic Labor Markets and Careers. Annu. Rev. Sociol.,
25(74), pp.541-574.
==
O'Neil, K. M.
Bringing art to market: The diversity of pricing styles in a local art market
In-text: (O'Neil, 2008)
Bibliography: O'Neil, K. (2008). Bringing art to market: The diversity of pricing styles in a
local art market. Croft Institute for International Studies, University of Mississippi, 36, pp.94-
113.
==
Comunian, R., Faggian, A. and Cher, Q.
Unrewarded Careers in the Creative Class: The Strange case of bohemian graduates
In-text: (Comunian, Faggian and Cher, 2010)
Bibliography: Comunian, R., Faggian, A. and Cher, Q. (2010). Unrewarded Careers in the
Creative Class: The Strange case of bohemian graduates. Papers in Regional Science, 89(2),
pp.389-410.
==
Lindemann, D. J.
What Happens to Artistic Aspirants Who Do Not "Succeed''? A Research Note From the
Strategic National Arts Alumni Project
In-text: (Lindemann, 2013)
Bibliography: Lindemann, D. (2013). What Happens to Artistic Aspirants Who Do Not
"Succeed''? A Research Note From the Strategic National Arts Alumni Project. Work and
Occupations, 40(4), pp.465-480.
UEL library:
Fortnum, R.
Contemporary British women artists
In-text: (Fortnum, 2007)
Bibliography: Fortnum, R. (2007). Contemporary British women artists. London: I.B. Tauris.
==
Bull, G., Porter, P., Michelangelo Buonarroti and Condivi, A.
Michelangelo, life, letters, and poetry
In-text: (Bull et al., 1987)
Bibliography: Bull, G., Porter, P., Michelangelo Buonarroti, and Condivi, A. (1987).
Michelangelo, life, letters, and poetry. Oxford [Oxfordshire]: Oxford University Press.
==
Letts, R. M.
The Cambridge introduction to art
In-text: (Letts, 1992)
Bibliography: Letts, R. (1992). The Cambridge introduction to art. Cambridge: Cambridge
university press.
==
Beard, M. and Henderson, J.
Classical art
In-text: (Beard and Henderson, 2001)
Bibliography: Beard, M. and Henderson, J. (2001). Classical art. Oxford: Oxford University
Press.
==
Walker, S.
Roman art
In-text: (Walker, 1991)
Bibliography: Walker, S. (1991). Roman art. Cambridge, Mass.: Harvard University Press.
==
Douglas, A. and James, N. P.
Artists' stories
In-text: (Douglas and James, 1995)
Bibliography: Douglas, A. and James, N. (1995). Artists' stories. Sunderland: AN Publications.
==
British art
In-text: (Freeman, 2006)
Bibliography: Freeman, J. (2006). British art. London: Southbank.
SAME THING, BUT IN ALPHABETIC ORDER
References
Beard, M. and Henderson, J. (2001). Classical art. Oxford: Oxford University Press.
Beaumont, M. (2007). As radical as reality Itself. Oxford: Peter Lang.
Bull, G., Porter, P., Michelangelo Buonarroti, and Condivi, A. (1987). Michelangelo, life,
letters, and poetry. Oxford [Oxfordshire]: Oxford University Press.
Churchich, N. (1994). Marxism and Morality: A Critical Examination of Marxist Ethics. England: WBC Bookbinders, p.286.
Comunian, R., Faggian, A. and Cher, Q. (2010). Unrewarded Careers in the Creative Class:
The Strange case of bohemian graduates. Papers in Regional Science, 89(2), pp.389-410.
Douglas, A. and James, N. (1995). Artists' stories. Sunderland: AN Publications.
Fortnum, R. (2007). Contemporary British women artists. London: I.B. Tauris.
Freeman, J. (2006). British art. London: Southbank.
Letts, R. (1992). The Cambridge introduction to art. Cambridge: Cambridge university press.
Lindemann, D. (2013). What Happens to Artistic Aspirants Who Do Not "Succeed''? A
Research Note From the Strategic National Arts Alumni Project. Work and Occupations,
40(4), pp.465-480.
McAndrew, C. (2010). Fine Art and High Finance. New York, NY: John Wiley & Sons.
McNeese, T. and Waites, J. (n.d.). The Renaissance (1300-1500).
Menger, P. (1999). Artistic Labor Markets and Careers. Annu. Rev. Sociol., 25(74), pp.541-574.
Miller, H. and Miller, C. (2004). A proper living from your art. [England?]: Artist Solution.
O'Neil, K. (2008). Bringing art to market: The diversity of pricing styles in a local art market.
Croft Institute for International Studies, University of Mississippi, 36, pp.94-113.
Patrick, J. (2007). Renaissance and Reformation. New York: Marshall Cavendish.
Rigby, S. (1998). Marxism and history. Manchester: Manchester University Press, p.31.
Vasari, G., Bondanella, J. and Bondanella, P. (1998). The lives of the artists. Oxford: Oxford University Press.
Walker, S. (1991). Roman art. Cambridge, Mass.: Harvard University Press.
Wilsher M. (2009) „Beyond Public Art‟, Art Monthly, 331(11), pp. 11-14.
▓ In my visit to the National Gallery I had the opportunity to take a few pictures of
Renaissance paintings just to illustrate the dominance of Religious, Aristocratic and Mythic
motifs in paintings of the time, in this case: religious. Guercino, Italian artist, used to make his
living from art by painting for the church like his contemporaries. I bring to light that Power
and Art sustain each other to exist, as much as the artist and the observer.
▓ This brilliant, astonishing, fantastic painting, also in Renaissance/religious context, makes
me think that an Artist, even though into the Religious authority of the time, could express
his/her artistic beauty and creativity through the process of painting, improved techniques and
everywhere as soon as the idea/concept, in the case religious, was kept intact. And basically
showing his work, as an individual artist, through the quality and creativity, even though
limited by Religious context, of his her work.
▓ Unfortunately I
couldn‟t take pictures of
Balke P. paintings, but
from the text we can
note that emerging with
the industrial
revolution, emerged the
middle class, which
were able to afford
paintings in different
themes than the ones
described before. So
here the artist had room
to make landscapes in a
more personalised,
individual form of
expression to serve
himself and the
observer better.
▓ But here I can also mention my theory of Consequential Inventions, eg; Monet and the
Impressionists were just at the right time, at the right place in history, if it was not them to
create the Impressionist style, someone else would do. I believe the context is stronger that the
artist‟s will. And now we are in time of digital revolution in history, where „changes‟ are no
exception anytime in history. It‟s all about figuring out what is the next blooming change and
take control on it. Monet perceived the middle class, with a new power of consume, was
wishing something new in art, and so he did. Even though that was a paradigm for the time,
but so he insisted and made them see the change that had to bloom.
▓ In my visit to Switzerland years
ago, 2010, I could witness in the
National Gallery of Zurich many of
Monet huge panels. Looking back at
those pictures and memories of my
visit, today I can quote that those
possibilities of a more free artist
expression had the space due to the
industrial revolution as I quoted.
(update: I should had quoted Marx K. here, but I didn‟t know I was reinventing his theories.
Later in this journal I will quote him properly. It‟s hard to be original in this world, I think
hard, have an idea, research, and „boom‟, someone thought about that before. That‟s why there
is no vacancies for genius nowadays. If I was born in his time, that would be me in history
books today. No need to be modest, most of us may share the same feeling at moments in life.
„boom‟).
▓ Now in the digital revolution, I have the feeling I have all the pieces of the jigsaw in my
hands, I am just putting them together and figuring out the best track I could design in the
internet revolution, in the digital era.
▓ Nowadays, talking solely about “internet” became a too broad term. Here is an example of
my personal journey tracking “where” in internet things could happen.
▓ Aware that having a personal Website is like having an isolated island. People may visit it
once, but then never come back again, so it‟s doesn‟t work all alone. So that would not be the
main tool to generate sales, at least initially.
▓ Then starting from the principle that business are where people are, things unfolded in the
following manner:
▓ Since 2006, when I started working with art, I designed a personal equation that worked for
me for many years till I decided to start university in 2012, when I had to dedicate more time
to my studies. Without a graduation I had difficult access to galleries and the traditional world
of art trade. Then working according to the equation bellow, I managed to survive for many
years generating an income high enough to afford myself a small box room in a flatshare.
Times were hard, but I was making my living from art, and this we don‟t listen very often
from artists in general.
▓
Till today this equation still works for me. Now that I am about to graduate and my art
achieved solid academic standards, sales have been happening naturally at amounts of money
I never dreamed before. The crucial point in the equation is that those 200 art collectors come
from a group of at least 5000 sales, so they are a selected group that are really tuned with my
style of art.
▓ One reseller of my art, whom has a personal website where he sells many type of items
including art, disclosed to me his income from the website, despite he asked to not disclose his
identity:
▓ “I just ran a quick report and in 2014 I sold 438 painting, drawings non aceo. 367 (84%)
average ticket $264 online, 48 (11%) at outdoor events average ticket $80 and 23 at galleries
average ticket $675. My 84/10/5 estimate was pretty close.
▓ Note that was only painting and drawings. keep in mind I buy and sell so I actually made
around 55-60k on paintings and drawings last year.
▓ January is always slow and Feb.-April sales are good because everyone gets there income
tax checks and has disposable income available.
▓ Not to worry I will put a lot more effort to move your items in a couple weeks. after
Christmas I have a hard time selling anywhere.”
▓ What means solely the Fine Art in his website, which he manages only by himself, he
generated an income in 2014 of about 60 thousand dollars, for he and family live in the USA.
▓ Yet, he sells it worldwide like I do, so ethnographically speaking, globalization dismounts
the idea of geographic location. All that we need is a post office near bye and a computer
connected to the internet. Theoretically speaking, one can live in the most remote place on
Earth as soon as there is a post office and internet available. The business keeps running 24/7
no matter how much one travel or life style is.
▓ **Update: I spoke to my art collector and reseller, and he gave permission to disclose solely
his website address for the purpose of research in the academy, which is:
www.zanybuy.com
In the cover page I could find many of my own artwork he‟s reselling.
▓ What many artists, trying to make a living from art, can‟t perceive yet, is „how to write an
equation that works for you‟.
▓ Karl Marx
▓ According to Marxist philosophy in the Relations of Production in The Poverty of
Philosophy
(Churchich, 1994, p.286) “It is not the consciousness of men that determines their existence,
but their social existence that determines their consciousness”
In-text: (Churchich, 1994)
Bibliography: Churchich, N. (1994). Marxism and Morality: A Critical Examination of Marxist Ethics.
England: WBC Bookbinders, p.286.
▓ (Rigby, 1998, p.31) “Social relations are closely bound up with productive forces. In
acquiring new productive forces men change their mode of production; and in changing their
mode of production, in changing the way of earning their living, they change all their social
relations.”
In-text: (Rigby, 1998)
Bibliography: Rigby, S. (1998). Marxism and history. Manchester: Manchester University Press.
▓ ”The hand-mill gives you society with the feudal lord; the steam-mill society with the
industrial capitalist. The same men who establish their social relations in conformity with the
material productivity, produce also principles, ideas, and categories, in conformity with their
social relations.”
▓ the wage-worker, the other man who is compelled to sell himself of his own free-will. He
discovered that capital is not a thing, but a social relation between persons established by
the instrumentality of things.
▓ Consciousness is a phenomena of the process of mankind living body. 'I' am in a different
process of consciousness from moment to moment. Combined with memories, it builds the
delusion of an identity. If I had no memory, for example, 'I' would still do similar activities
every day, but just because 'I' answer to the basic needs of 'my' body in order to stay alive and
replicate, eventually, as a defence mechanism of the specie, crucial for its perpetuation. So
basically, the 'I', as an identity, is a delusion. Emotional attachment to the 'I' by the use of
'memories' and the process of 'consciousness' creates the existential question, but 'I' does not
exist in first place, and never will.
▓ Karl Marx brilliantly suggests that we are what society shape us to be according to our
production standards and that would lead to specific ways of socialization with specific
groups. He discerns that ways of production shape that in capitalism and basically it could be
different with different systems.
▓ I would suggest theorising that there is no system in civilization better or worse than
capitalism regarding intrapersonal happiness. It is not the improvement or exchange of a
system, based in capital like capitalism or technology like the Zeitgeist, that would fade away
human sadness, loneliness and/or bring any kind of happiness better than what we have now.
▓ It is implied in the question a certain „competition‟ among systems, a „hierarchy of
happiness‟ according to the system implemented. As if one system could be better than the
other. In my opinion it is a total misunderstood and I will explain why:
1. ▓ One thing made us evolve from monkeys to humans: civilization, no matter which
one.
2. ▓ Since we are humans, we live in a civilization. If we are not civilians living in a
civilization, then we are living in the monkey‟s life style again, and may start behaving
like them again.
3. ▓ We „humans‟ are sad and have existential problems by nature because we cannot
accept that we are a „process‟ of the existence and not a „permanent‟ state of existence
as assumed by religions and spiritualists.
4. ▓ There is no „I‟, on the contrary of what Grammar categorically delude us, „I‟ is not a
„thing‟ to be categorized as a „person‟. „I‟ is simply the process of existing. Once this
process is exhausted we no longer exist in physical terms. The spiritual existence, the
cogito, that Descartes tries to figure out, is just a desperate attempt to reassure the “I” as
a permanent state of existence. But then, if nothing can prove he was righty, and
nothing can prove he was wrong, then his theory is „faith‟, and faith is not science.
5. ▓ If we exist in civilization, so the surveillance civilization tell us who we are in the
process of existence.
6. ▓ Unhappiness takes place for we are demanded and ordered to tell who we “are”. Once
we are a „process‟, then we cannot „be‟ anything of a statement.
7. ▓ This leads to Cynicism: to „survive‟ in a civilization we have to build an Cynic
„image‟ of ourselves as if „I‟ existed. This conflict take us far away to the Transparency
of the temporal „process‟ we happen to leave impressions. We change too quickly, we
are in constant process. Once „I‟ is categorized and stated, it no longer „is‟, because it
already belong to the past.
8. ▓ This existential conflict between civilization and the figure of „us‟, where the process
phenomena expresses through our bodies (that is not „ours‟), has no solution and our
anxiety to „evolve‟ is not going to make us feel any better.
▓ According to my theory unhappiness applies to all aspects of one‟s temporal existence.
In art, once a painting/sculpture or anything is produced, it no longer belongs to the artist.
Because the artist, like everyone else, is not „someone‟, but a phenomena that happened
altogether with a civilization‟s context and the moment of creating a painting. As a whole,
all part of the past, where that specific part of the „process‟ happened as a phenomena.
Because the phenomena can happen again in a similar way, „we‟ get to be deluded with the
feeling of property and identity.
▓ Aware that we have a body to feed, an artist like everyone else, have to take care of it,
then the delusion of „I‟ before a civilization is demanded.
▓ The incongruence of making art to produce power to maintain the body and the
existential paradox, makes art nowadays look mostly awful, horrendous, revolutionary,
rubbishy or anything usually called “contemporary crap art”, for nowadays we live in a
civilization that has never ever been so Cynic as much as before. This Cynicism keep us far
from Transparency, making unhappiness a constant, no matter how many Ferraris and
Lamborghinis „we‟ can have or dream to (Plasming our happiness on that).
▓ And to have to make a living from art, is a task that becomes a torture for most artists of
our time. For art is the finest type of expression in the process of one‟s deluded existence.
But dream aspires and may get in the wrong destiny, where happiness is not included.
▓ Equations in „how to make a living from art‟ are desperate attempts to make one, in the
process of deluded existence, feel better once the delusion of „one‟s identity‟ is built
„successfully‟
▓ I mean that I probably found a definite new-era-equation to make a living from art.
Perhaps as a researcher, an artist and member of the academia I do not want the message of
„success‟ or „happiness‟ be implied in „my‟ work and „personal‟ achievements. Just
because „I‟ does not exist, and „our‟ civilization is far away from providing happiness to
the body our temporal mind exists in, even though the last is in constant chronological
mutant persona in the process.
==//==
▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓
A great clue to work with galleries, when still possible nowadays,
is to do an extensive research like the one I did. I visited about 50
galleries in London, and got solely the contact of those ones that
work with paintings related to my style and concepts. In the
following pages are the contacts of these few galleries.
▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓
Fig. 1. George Romney (1778) Elizabeth, Countess of Craven, Later Margravine of Anspach [Online].
Available at: http://www.tate.org.uk/art/artworks/romney-elizabeth-countess-of-craven-later-margravine-of-
anspach-n01669 (Accessed: 20 February 2015)
▓ Aristocratic painting
Fig. 2. Michelangelo di Lodovico Buonarroti Simoni (16th
century) The Sistine Chapel - St. Peter’s Basilica -
Italy [Online]. Available at: http://www.shedexpedition.com/wp-content/uploads/2014/03/Tourists-inside-the-
Sistine-Chapel.jpg (Accessed: 28 February 2015)
▓ Religious art
▓ It denotes that art from Renaissance til Industrial Revolution were mainly aristocratic,
religious or historical, for the influence/hegemony of those in the power: church and
government/aristocracy.
Fig. 3. Hilaire-Germain-Edgar Degas (1890-5) After the Bath, Woman drying herself [Online]. Available at:
http://www.nationalgallery.org.uk/paintings/hilaire-germain-edgar-degas-after-the-bath-woman-drying-herself
(Accessed: 22 February 2015)
▓ Modern era: with an emerging middle class due to the industrial Revolution, more diverse
scenes started being portrayed.
Fig. 4. Philip Wilson Steer (1891) Mrs Cyprian Williams and her Two Little Girls, [Online]. Available at:
http://www.tate.org.uk/art/artworks/steer-mrs-cyprian-williams-and-her-two-little-girls-n04422 (Accessed: 27
February 2015)
▓ Modern era
Fig. 5. Unknown Author (2010) Technology Then and Now, [Online]. Available at:
http://www.ilsul6ana.com/2010/04/ (Accessed: 27 February 2015)
▓ Easy access to everything may contribute to a collective mentality where everything is
made banal.
Fig. 6. Martin Creed, (2000) The lights going on and off [Online]. Available at: http://www.tate.org.uk/whats-
on/tate-britain/display/martin-creed-tate-britain (Accessed: 28 February 2015).
Fig. 7. Wilsher M. (2009) „Beyond Public Art‟, Art Monthly, 331(11), p. 12
▓ Art made too conceptual may denote a critique to a society where everything is made banal.
Fig. 8. Contemporary Equation of Making Living from Art
▓ Example of where making living from art could have shifted to.
▓ General chart of making a living from art in history, now and then