nrgball
Junior Member
Posts โข 1,222
Likes โข 643
January 2011
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street will eat itself, by nrgball on Oct 14, 2014 20:40:29 GMT 1, The fact that The Royal Ballet House and the national gallery in the UK have invited Phlegm, the NYC Ballet at Lincoln Center has invited FAILE & JR and the Pantheon has invited JR to major commissioned exhibitions is quite telling. These few examples show how Urban/Street Art has graduated and is inspiring these high society institutions to take notice. They are also trying to gather interest amongst the younger generations by including our beloved art form in their halls. This art movement is here to stay. Basquiat and Haring made sure of it and Banksy opened the flood gates. It is now up to the individual artists, their talent and successful management of their careers to determine who becomes legend and who fades into the halls of time. There is certainly an extension of street/urban art that is mirroring a truncated Hirst formula that will lead to their own demise. It is seen in the mishandling of artists and the exploitation by galleries who lack vision and understanding of longevity as well as the lack of understanding by young artists themselves. The flipping vultures play a role in this game as well. That culture will eat itself, IMHO. Interesting you mention the Galleries part in this progression and moment in the artform. One major gap we are witnessing is galleries that are able to properly represent and curate the genre. There is a glass ceiling of sorts with these urban art galleries and their ability to push forward and compete with the big name galleries. This lack of progression for the galleries who most likely understand the genre better than the top end galleries is holding it back a bit IMO.
And this has to do with the fact that the urban art galleries aren't equiped to find sellers outside of urban art collectors. Maybe they can pull a few handfuls of collectors but the growth of rising urban artists exists in the ability for collectors to consistently purchase art at higher plateaus.
Right now we see the generations of street art collectors beginning to make disposable incomes that allows for this level of collecting. There are obviously more folks with a bead on Banksy's work. The mass of urban art collectors has largely been made of print collectors who have graduated into collecting original work. Most have to sell pieces to collect more making many markets volital. This makes it difficult for artist to maintain collector bases when their work starts to crack $10k for instance. When it hits $40k plus, there is another ceiling and onward.
In order for street artists to emerge successfully and cement their place in art history, they need to either break into the mainstream contemporary art collector world via auction houses, new gallery exposure or word of mouth private collection. Then it has to be sustained for years. I think urban art galleries are running up against boundaries due to exposure as well as having limited access to collectors of a certain class paying attention to this genre. It is happening slowly (which it needs to IMHO) but the artists need to be be supported while the market develops.
As always, only the strongest artists will survive the transition. Its nice to see the support from a younger generation of collectors. I can't imagine that there have been many times in history where twenty-something-years olds were involved in collecting art. This supports young artists and gives them a platform to emerge from. The question remains, who will emerge and who will fade away.
The fact that The Royal Ballet House and the national gallery in the UK have invited Phlegm, the NYC Ballet at Lincoln Center has invited FAILE & JR and the Pantheon has invited JR to major commissioned exhibitions is quite telling. These few examples show how Urban/Street Art has graduated and is inspiring these high society institutions to take notice. They are also trying to gather interest amongst the younger generations by including our beloved art form in their halls. This art movement is here to stay. Basquiat and Haring made sure of it and Banksy opened the flood gates. It is now up to the individual artists, their talent and successful management of their careers to determine who becomes legend and who fades into the halls of time. There is certainly an extension of street/urban art that is mirroring a truncated Hirst formula that will lead to their own demise. It is seen in the mishandling of artists and the exploitation by galleries who lack vision and understanding of longevity as well as the lack of understanding by young artists themselves. The flipping vultures play a role in this game as well. That culture will eat itself, IMHO. Interesting you mention the Galleries part in this progression and moment in the artform. One major gap we are witnessing is galleries that are able to properly represent and curate the genre. There is a glass ceiling of sorts with these urban art galleries and their ability to push forward and compete with the big name galleries. This lack of progression for the galleries who most likely understand the genre better than the top end galleries is holding it back a bit IMO. And this has to do with the fact that the urban art galleries aren't equiped to find sellers outside of urban art collectors. Maybe they can pull a few handfuls of collectors but the growth of rising urban artists exists in the ability for collectors to consistently purchase art at higher plateaus. Right now we see the generations of street art collectors beginning to make disposable incomes that allows for this level of collecting. There are obviously more folks with a bead on Banksy's work. The mass of urban art collectors has largely been made of print collectors who have graduated into collecting original work. Most have to sell pieces to collect more making many markets volital. This makes it difficult for artist to maintain collector bases when their work starts to crack $10k for instance. When it hits $40k plus, there is another ceiling and onward. In order for street artists to emerge successfully and cement their place in art history, they need to either break into the mainstream contemporary art collector world via auction houses, new gallery exposure or word of mouth private collection. Then it has to be sustained for years. I think urban art galleries are running up against boundaries due to exposure as well as having limited access to collectors of a certain class paying attention to this genre. It is happening slowly (which it needs to IMHO) but the artists need to be be supported while the market develops. As always, only the strongest artists will survive the transition. Its nice to see the support from a younger generation of collectors. I can't imagine that there have been many times in history where twenty-something-years olds were involved in collecting art. This supports young artists and gives them a platform to emerge from. The question remains, who will emerge and who will fade away.
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motor
Junior Member
Posts โข 1,836
Likes โข 409
December 2006
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street will eat itself, by motor on Oct 14, 2014 21:27:34 GMT 1, Agree with some of you nrgball graffuturism nuart Festival peter Bengtsen. Some very good points. The way I see it, it is all happening. Slowly but happening. I would look up to the States. That's where (for me) the movement has began and where one can see changes are coming from. It is still leading the way. I am not going to talk about the 80's, 90's but then came the Deitch project and that change things. More and more museums (MOCA, MOMA, Brooklyn Museum, Dallas contemporary museum and some more), big galleries and collectors are joining in these days (If you dig around you know what I am talking about). Sure we have Banksy and he's totally changed the game here and worldwide however is also part of the problem why the UK "scene" is stuck in a gear. Museums, galleries, collectors are so focus on his work that it almost suffocates anything else. Artists are trying to follow his formulae and TBH there can be only one Banksy. Stateside is more levelled playing field and it is more about art and skills. Here in the UK I feel more about money investing I'm afraid. There was a time when UK (street art scene) has the momentum (Baltic, TATE modern) but it is gone for the moment.
Agree with some of you nrgball graffuturism nuart Festival peter Bengtsen. Some very good points. The way I see it, it is all happening. Slowly but happening. I would look up to the States. That's where (for me) the movement has began and where one can see changes are coming from. It is still leading the way. I am not going to talk about the 80's, 90's but then came the Deitch project and that change things. More and more museums (MOCA, MOMA, Brooklyn Museum, Dallas contemporary museum and some more), big galleries and collectors are joining in these days (If you dig around you know what I am talking about). Sure we have Banksy and he's totally changed the game here and worldwide however is also part of the problem why the UK "scene" is stuck in a gear. Museums, galleries, collectors are so focus on his work that it almost suffocates anything else. Artists are trying to follow his formulae and TBH there can be only one Banksy. Stateside is more levelled playing field and it is more about art and skills. Here in the UK I feel more about money investing I'm afraid. There was a time when UK (street art scene) has the momentum (Baltic, TATE modern) but it is gone for the moment.
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Deleted
Posts โข 0
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January 1970
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street will eat itself, by Deleted on Oct 17, 2014 2:25:33 GMT 1, In todays art world the cream rarely rises to the top.
It's all about gimmicks and Tracey Emin being made professor of drawing at the Royal Academy is a joke.
The Tate Modern has lots of Junk and the only thing that merits it being in the Tate is that it sells at high prices in auction houses etc.
The art world is a big ponzy scheme promoting some who have no merit simply because of who they are and connected to.
Curaters are up the backsides of the big dealers and auction houses it's alla filthy clique where butts are buffed untill they blind the butt buffers to see anything.
Brit Art brought to us by Saatchi the advertising guru was a gimmick and curators are still taking it seriously and dead cows cut in half and other crap because they will never say they fell for crap as they don't want to be exposed for their lack of knowledge and the fact they got their jobs and salaries by playing the game and being arse lickers and hoping for a knighthood or some such bauble.
In todays art world the cream rarely rises to the top.
It's all about gimmicks and Tracey Emin being made professor of drawing at the Royal Academy is a joke.
The Tate Modern has lots of Junk and the only thing that merits it being in the Tate is that it sells at high prices in auction houses etc.
The art world is a big ponzy scheme promoting some who have no merit simply because of who they are and connected to.
Curaters are up the backsides of the big dealers and auction houses it's alla filthy clique where butts are buffed untill they blind the butt buffers to see anything.
Brit Art brought to us by Saatchi the advertising guru was a gimmick and curators are still taking it seriously and dead cows cut in half and other crap because they will never say they fell for crap as they don't want to be exposed for their lack of knowledge and the fact they got their jobs and salaries by playing the game and being arse lickers and hoping for a knighthood or some such bauble.
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Gard
Junior Member
Posts โข 1,604
Likes โข 1,243
June 2012
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street will eat itself, by Gard on Oct 17, 2014 3:10:43 GMT 1, I would really like to know who your top 5 contemporary and top 5 urban artists are ploppi?
I would really like to know who your top 5 contemporary and top 5 urban artists are ploppi?
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