Deleted
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January 1970
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Who is the next big thing?, by Deleted on Mar 31, 2014 21:27:25 GMT 1, This quote is crack wrapped in fairy dust. In 20 years 99.999% of the walls done will have something else on them, if they are there are all. The only walls that will remain are the ones of artists who have achieved the status discussed prior. No one, and I mean no one is going to save something and go through the expense of restoring and preserving it if it has no relevance. Right now that relevance is defined largely by institutions and scholars. Only curated projects such as Wynwood Walls in Miami has any hope of controlling their walls with the type of archival effort that would be needed to use walls as an analog for an institution. Oh, I'd say you're absolutely right there. I guess there'll be a few Banksy's chopped out of walls and the occasional mural saved and presented to those that visit museums. The point was, that we're actually living through a period where there's a revolution going on in visual art language and culture. What was once reserved for the middle and upper class or those with a University education, is now accessible to all, free of charge, 24 hours a day, 7 days a week, and people have taken to it in droves. People whose last exposure to visual art was often their last high school class. And there's millions of them, fans, distributing content, daily, and they're becoming more and more educated, more and more refined, expecting better and better. Unsanctioned public art is still sweeping the globe, digitally and physically, from Newcastle to Gambia. And it will stay. Forever. It isn't a fad. It's a paradigm shift in how we use public space, how we relate to and use visual art and language, ultimately how we live. In the grand scheme of things it may seem minor. But on paper and through the lens of history, it will be seen as revolutionary. I know numerous people writing theor PHD's on it, it will bleed into academia and all aspects of the arts from architecture to design, urban planning to fashion. In fact already is. Now.. Pace, the Tate, Christies, Goldsmiths..where were they, where are they ? dead in the water, they have been rendered irrelevant. No one really gives a s**t about Oscar Murrilo or most of what's being pushed by commercial galleries. Cory Archangel and a few new media or digital artists maybe.. but the rest, the painters and sculptors ? they'll be quickly forgotten. Swoon, Os Gemeos, JR, Banksy, Barry McGee, Voina.. even the likes of Brad Downey, all making history, even the lowliest street artists have more relevance to what's happening art historically right now than 99% of what commecial galleries are pushing. Forget the "art market" and auction house nonsense, they're leagues behind, they don't have the mental capacity to see beyond the bottom line. Look at the bigger picture, the art you follow on here and love, is changing communities, people, society even.. who knows. Viva Street Art, Viva la Revolucion ! :-)
peace
This quote is crack wrapped in fairy dust. In 20 years 99.999% of the walls done will have something else on them, if they are there are all. The only walls that will remain are the ones of artists who have achieved the status discussed prior. No one, and I mean no one is going to save something and go through the expense of restoring and preserving it if it has no relevance. Right now that relevance is defined largely by institutions and scholars. Only curated projects such as Wynwood Walls in Miami has any hope of controlling their walls with the type of archival effort that would be needed to use walls as an analog for an institution. Oh, I'd say you're absolutely right there. I guess there'll be a few Banksy's chopped out of walls and the occasional mural saved and presented to those that visit museums. The point was, that we're actually living through a period where there's a revolution going on in visual art language and culture. What was once reserved for the middle and upper class or those with a University education, is now accessible to all, free of charge, 24 hours a day, 7 days a week, and people have taken to it in droves. People whose last exposure to visual art was often their last high school class. And there's millions of them, fans, distributing content, daily, and they're becoming more and more educated, more and more refined, expecting better and better. Unsanctioned public art is still sweeping the globe, digitally and physically, from Newcastle to Gambia. And it will stay. Forever. It isn't a fad. It's a paradigm shift in how we use public space, how we relate to and use visual art and language, ultimately how we live. In the grand scheme of things it may seem minor. But on paper and through the lens of history, it will be seen as revolutionary. I know numerous people writing theor PHD's on it, it will bleed into academia and all aspects of the arts from architecture to design, urban planning to fashion. In fact already is. Now.. Pace, the Tate, Christies, Goldsmiths..where were they, where are they ? dead in the water, they have been rendered irrelevant. No one really gives a s**t about Oscar Murrilo or most of what's being pushed by commercial galleries. Cory Archangel and a few new media or digital artists maybe.. but the rest, the painters and sculptors ? they'll be quickly forgotten. Swoon, Os Gemeos, JR, Banksy, Barry McGee, Voina.. even the likes of Brad Downey, all making history, even the lowliest street artists have more relevance to what's happening art historically right now than 99% of what commecial galleries are pushing. Forget the "art market" and auction house nonsense, they're leagues behind, they don't have the mental capacity to see beyond the bottom line. Look at the bigger picture, the art you follow on here and love, is changing communities, people, society even.. who knows. Viva Street Art, Viva la Revolucion ! :-) peace
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Deleted
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January 1970
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Who is the next big thing?, by Deleted on Mar 31, 2014 21:50:08 GMT 1, Oh, I'd say you're absolutely right there. I guess there'll be a few Banksy's chopped out of walls and the occasional mural saved and presented to those that visit museums. The point was, that we're actually living through a period where there's a revolution going on in visual art language and culture. What was once reserved for the middle and upper class or those with a University education, is now accessible to all, free of charge, 24 hours a day, 7 days a week, and people have taken to it in droves. People whose last exposure to visual art was often their last high school class. And there's millions of them, fans, distributing content, daily, and they're becoming more and more educated, more and more refined, expecting better and better. Unsanctioned public art is still sweeping the globe, digitally and physically, from Newcastle to Gambia. And it will stay. Forever. It isn't a fad. It's a paradigm shift in how we use public space, how we relate to and use visual art and language, ultimately how we live. In the grand scheme of things it may seem minor. But on paper and through the lens of history, it will be seen as revolutionary. I know numerous people writing theor PHD's on it, it will bleed into academia and all aspects of the arts from architecture to design, urban planning to fashion. In fact already is. Now.. Pace, the Tate, Christies, Goldsmiths..where were they, where are they ? dead in the water, they have been rendered irrelevant. No one really gives a s**t about Oscar Murrilo or most of what's being pushed by commercial galleries. Cory Archangel and a few new media or digital artists maybe.. but the rest, the painters and sculptors ? they'll be quickly forgotten. Swoon, Os Gemeos, JR, Banksy, Barry McGee, Voina.. even the likes of Brad Downey, all making history, even the lowliest street artists have more relevance to what's happening art historically right now than 99% of what commecial galleries are pushing. Forget the "art market" and auction house nonsense, they're leagues behind, they don't have the mental capacity to see beyond the bottom line. Look at the bigger picture, the art you follow on here and love, is changing communities, people, society even.. who knows. Viva Street Art, Viva la Revolucion ! :-) peace I think (and hope ) you're right. However, the cynic in me believes that the status quo does not give up its position easily. While the 'art market' and auction houses may be leagues behind they have the power, influence and money to retain their dominance. And the danger is that with moving into the mainstream comes sanitisation.
Oh, I'd say you're absolutely right there. I guess there'll be a few Banksy's chopped out of walls and the occasional mural saved and presented to those that visit museums. The point was, that we're actually living through a period where there's a revolution going on in visual art language and culture. What was once reserved for the middle and upper class or those with a University education, is now accessible to all, free of charge, 24 hours a day, 7 days a week, and people have taken to it in droves. People whose last exposure to visual art was often their last high school class. And there's millions of them, fans, distributing content, daily, and they're becoming more and more educated, more and more refined, expecting better and better. Unsanctioned public art is still sweeping the globe, digitally and physically, from Newcastle to Gambia. And it will stay. Forever. It isn't a fad. It's a paradigm shift in how we use public space, how we relate to and use visual art and language, ultimately how we live. In the grand scheme of things it may seem minor. But on paper and through the lens of history, it will be seen as revolutionary. I know numerous people writing theor PHD's on it, it will bleed into academia and all aspects of the arts from architecture to design, urban planning to fashion. In fact already is. Now.. Pace, the Tate, Christies, Goldsmiths..where were they, where are they ? dead in the water, they have been rendered irrelevant. No one really gives a s**t about Oscar Murrilo or most of what's being pushed by commercial galleries. Cory Archangel and a few new media or digital artists maybe.. but the rest, the painters and sculptors ? they'll be quickly forgotten. Swoon, Os Gemeos, JR, Banksy, Barry McGee, Voina.. even the likes of Brad Downey, all making history, even the lowliest street artists have more relevance to what's happening art historically right now than 99% of what commecial galleries are pushing. Forget the "art market" and auction house nonsense, they're leagues behind, they don't have the mental capacity to see beyond the bottom line. Look at the bigger picture, the art you follow on here and love, is changing communities, people, society even.. who knows. Viva Street Art, Viva la Revolucion ! :-) peace I think (and hope ) you're right. However, the cynic in me believes that the status quo does not give up its position easily. While the 'art market' and auction houses may be leagues behind they have the power, influence and money to retain their dominance. And the danger is that with moving into the mainstream comes sanitisation.
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Deleted
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January 1970
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Who is the next big thing?, by Deleted on Mar 31, 2014 21:51:13 GMT 1, Nu visual art doesnt mean just street art, you're talking like everyone in the world likes street art and thats far from the way it is, the whole visual art world isnt going to suddenly ignore institutes and galleries, street/urban art is cemented in art history but it isnt going to take over the artworld, its a section which has exploded onto the art scene.
Nu visual art doesnt mean just street art, you're talking like everyone in the world likes street art and thats far from the way it is, the whole visual art world isnt going to suddenly ignore institutes and galleries, street/urban art is cemented in art history but it isnt going to take over the artworld, its a section which has exploded onto the art scene.
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chaserawr
Junior Member
Posts โข 1,146
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February 2011
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Who is the next big thing?, by chaserawr on Mar 31, 2014 22:11:48 GMT 1, I feel recently the "scene" has become a little stale, more linear. I do feel that the street art movement is an every lasting shift in visual art history. However, not everyone collects this art, and I do feel it has a generation assoicated with it. Who of us can know what will be cool or progressive 20 years from now. Sure the pinnicale artists that carved the movement will be used as reference, Shep, Banksy, Barry Mcgee, but who is to say it will be collectable. Both points are valid, ultimately, the galleries and the auction houses set the price for "collectable" artwork. Only time will tell if street art/urban art will be able to break the mold from that. You can see the more commericalized galleries who have been able to exploit the collector base has turned to other artists, Murillo, Falls, Smith, Ito etc. When that fizzles out what will come next? Will that be the next movement the next shift? I personally love to speculate like this and could talk for hours, but at the end of the day I just like looking at my walls.
I feel recently the "scene" has become a little stale, more linear. I do feel that the street art movement is an every lasting shift in visual art history. However, not everyone collects this art, and I do feel it has a generation assoicated with it. Who of us can know what will be cool or progressive 20 years from now. Sure the pinnicale artists that carved the movement will be used as reference, Shep, Banksy, Barry Mcgee, but who is to say it will be collectable. Both points are valid, ultimately, the galleries and the auction houses set the price for "collectable" artwork. Only time will tell if street art/urban art will be able to break the mold from that. You can see the more commericalized galleries who have been able to exploit the collector base has turned to other artists, Murillo, Falls, Smith, Ito etc. When that fizzles out what will come next? Will that be the next movement the next shift? I personally love to speculate like this and could talk for hours, but at the end of the day I just like looking at my walls.
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Deleted
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January 1970
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Who is the next big thing?, by Deleted on Mar 31, 2014 22:29:51 GMT 1, Oh, I'd say you're absolutely right there. I guess there'll be a few Banksy's chopped out of walls and the occasional mural saved and presented to those that visit museums. The point was, that we're actually living through a period where there's a revolution going on in visual art language and culture. What was once reserved for the middle and upper class or those with a University education, is now accessible to all, free of charge, 24 hours a day, 7 days a week, and people have taken to it in droves. People whose last exposure to visual art was often their last high school class. And there's millions of them, fans, distributing content, daily, and they're becoming more and more educated, more and more refined, expecting better and better. Unsanctioned public art is still sweeping the globe, digitally and physically, from Newcastle to Gambia. And it will stay. Forever. It isn't a fad. It's a paradigm shift in how we use public space, how we relate to and use visual art and language, ultimately how we live. In the grand scheme of things it may seem minor. But on paper and through the lens of history, it will be seen as revolutionary. I know numerous people writing theor PHD's on it, it will bleed into academia and all aspects of the arts from architecture to design, urban planning to fashion. In fact already is. Now.. Pace, the Tate, Christies, Goldsmiths..where were they, where are they ? dead in the water, they have been rendered irrelevant. No one really gives a s**t about Oscar Murrilo or most of what's being pushed by commercial galleries. Cory Archangel and a few new media or digital artists maybe.. but the rest, the painters and sculptors ? they'll be quickly forgotten. Swoon, Os Gemeos, JR, Banksy, Barry McGee, Voina.. even the likes of Brad Downey, all making history, even the lowliest street artists have more relevance to what's happening art historically right now than 99% of what commercial galleries are pushing. Forget the "art market" and auction house nonsense, they're leagues behind, they don't have the mental capacity to see beyond the bottom line. Look at the bigger picture, the art you follow on here and love, is changing communities, people, society even.. who knows. Viva Street Art, Viva la Revolucion ! :-) peace I think (and hope ) you're right. However, the cynic in me believes that the status quo does not give up its position easily. While the 'art market' and auction houses may be leagues behind they have the power, influence and money to retain their dominance. And the danger is that with moving into the mainstream comes sanitisation. I agree Sean, like all good capitalist systems, it will try and assimilate and neuter it, claim it in some instances, has been trying for the best part of a decade. But art historically, I think it's too late. By sheer weight of numbers, street art and outsider art in general will dominate the coming decades. Last year Juxtapoz knocked Artforum off the top and is now the world's best selling Art magazine. Not bad for an Outsider art rag started in 94. Outsider artist and founder of Jux Robert Williams predicted that, โLow brow and alternative art are the crack in the dam and with this leak the art world will never be the same.โ I think he was right, we're just getting started. The ones that kick against this will be those that aspire to be part of the private privileged members club. They'll always remain, as private members clubs always have, but I think that's how they'll be perceived. An anachronism of days gone by.
Oh, I'd say you're absolutely right there. I guess there'll be a few Banksy's chopped out of walls and the occasional mural saved and presented to those that visit museums. The point was, that we're actually living through a period where there's a revolution going on in visual art language and culture. What was once reserved for the middle and upper class or those with a University education, is now accessible to all, free of charge, 24 hours a day, 7 days a week, and people have taken to it in droves. People whose last exposure to visual art was often their last high school class. And there's millions of them, fans, distributing content, daily, and they're becoming more and more educated, more and more refined, expecting better and better. Unsanctioned public art is still sweeping the globe, digitally and physically, from Newcastle to Gambia. And it will stay. Forever. It isn't a fad. It's a paradigm shift in how we use public space, how we relate to and use visual art and language, ultimately how we live. In the grand scheme of things it may seem minor. But on paper and through the lens of history, it will be seen as revolutionary. I know numerous people writing theor PHD's on it, it will bleed into academia and all aspects of the arts from architecture to design, urban planning to fashion. In fact already is. Now.. Pace, the Tate, Christies, Goldsmiths..where were they, where are they ? dead in the water, they have been rendered irrelevant. No one really gives a s**t about Oscar Murrilo or most of what's being pushed by commercial galleries. Cory Archangel and a few new media or digital artists maybe.. but the rest, the painters and sculptors ? they'll be quickly forgotten. Swoon, Os Gemeos, JR, Banksy, Barry McGee, Voina.. even the likes of Brad Downey, all making history, even the lowliest street artists have more relevance to what's happening art historically right now than 99% of what commercial galleries are pushing. Forget the "art market" and auction house nonsense, they're leagues behind, they don't have the mental capacity to see beyond the bottom line. Look at the bigger picture, the art you follow on here and love, is changing communities, people, society even.. who knows. Viva Street Art, Viva la Revolucion ! :-) peace I think (and hope ) you're right. However, the cynic in me believes that the status quo does not give up its position easily. While the 'art market' and auction houses may be leagues behind they have the power, influence and money to retain their dominance. And the danger is that with moving into the mainstream comes sanitisation. I agree Sean, like all good capitalist systems, it will try and assimilate and neuter it, claim it in some instances, has been trying for the best part of a decade. But art historically, I think it's too late. By sheer weight of numbers, street art and outsider art in general will dominate the coming decades. Last year Juxtapoz knocked Artforum off the top and is now the world's best selling Art magazine. Not bad for an Outsider art rag started in 94. Outsider artist and founder of Jux Robert Williams predicted that, โLow brow and alternative art are the crack in the dam and with this leak the art world will never be the same.โ I think he was right, we're just getting started. The ones that kick against this will be those that aspire to be part of the private privileged members club. They'll always remain, as private members clubs always have, but I think that's how they'll be perceived. An anachronism of days gone by.
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sin
New Member
Posts โข 614
Likes โข 737
February 2013
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Who is the next big thing?, by sin on Mar 31, 2014 23:04:26 GMT 1, I'm a big fan of disruptive models, its how I build my wealth but you are confusing the rise of a new market with the overtaking of an established one. If there are 10,000 collectors buying works worth 100,000+ thats an art market of 1 billion dollars on the low end.
If there are 100,000 collectors buying works worth 10,000 a market with 1 billion dollars. One is not eating the other. Its yet to be seen if this new market will really infect the institutional environment that has for some time archived what is important to art.
There are few if any artists that have ever shown at the National Gallery in DC unless you consider Herring and Basquiat . Activity in contemporary art museums like the MOCA etc does bode well that the work may become part of the historical records. History shows a number of movements that had institutional support that are forgotten en.wikipedia.org/wiki/Neo-expressionism
Will this outsider, urban movement go DIY on archiving itself outside of the institutional environment? That would be an interesting topic. I know personally my lofty life goal is to found my own museum that documents the work I love so that it can be remembered and studied. However to insist that this revolution is forever shows a lack of understanding of revolutions.
I'm a big fan of disruptive models, its how I build my wealth but you are confusing the rise of a new market with the overtaking of an established one. If there are 10,000 collectors buying works worth 100,000+ thats an art market of 1 billion dollars on the low end. If there are 100,000 collectors buying works worth 10,000 a market with 1 billion dollars. One is not eating the other. Its yet to be seen if this new market will really infect the institutional environment that has for some time archived what is important to art. There are few if any artists that have ever shown at the National Gallery in DC unless you consider Herring and Basquiat . Activity in contemporary art museums like the MOCA etc does bode well that the work may become part of the historical records. History shows a number of movements that had institutional support that are forgotten en.wikipedia.org/wiki/Neo-expressionismWill this outsider, urban movement go DIY on archiving itself outside of the institutional environment? That would be an interesting topic. I know personally my lofty life goal is to found my own museum that documents the work I love so that it can be remembered and studied. However to insist that this revolution is forever shows a lack of understanding of revolutions.
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spirit
Junior Member
Posts โข 2,956
Likes โข 516
August 2007
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Who is the next big thing?, by spirit on Mar 31, 2014 23:18:46 GMT 1, This quote is crack wrapped in fairy dust. In 20 years 99.999% of the walls done will have something else on them, if they are there are all. The only walls that will remain are the ones of artists who have achieved the status discussed prior. No one, and I mean no one is going to save something and go through the expense of restoring and preserving it if it has no relevance. Right now that relevance is defined largely by institutions and scholars. Only curated projects such as Wynwood Walls in Miami has any hope of controlling their walls with the type of archival effort that would be needed to use walls as an analog for an institution. Oh, I'd say you're absolutely right there. I guess there'll be a few Banksy's chopped out of walls and the occasional mural saved and presented to those that visit museums. The point was, that we're actually living through a period where there's a revolution going on in visual art language and culture. What was once reserved for the middle and upper class or those with a University education, is now accessible to all, free of charge, 24 hours a day, 7 days a week, and people have taken to it in droves. People whose last exposure to visual art was often their last high school class. And there's millions of them, fans, distributing content, daily, and they're becoming more and more educated, more and more refined, expecting better and better. Unsanctioned public art is still sweeping the globe, digitally and physically, from Newcastle to Gambia. And it will stay. Forever. It isn't a fad. It's a paradigm shift in how we use public space, how we relate to and use visual art and language, ultimately how we live. In the grand scheme of things it may seem minor. But on paper and through the lens of history, it will be seen as revolutionary. I know numerous people writing theor PHD's on it, it will bleed into academia and all aspects of the arts from architecture to design, urban planning to fashion. In fact already is. Now.. Pace, the Tate, Christies, Goldsmiths..where were they, where are they ? dead in the water, they have been rendered irrelevant. No one really gives a s**t about Oscar Murrilo or most of what's being pushed by commercial galleries. Cory Archangel and a few new media or digital artists maybe.. but the rest, the painters and sculptors ? they'll be quickly forgotten. Swoon, Os Gemeos, JR, Banksy, Barry McGee, Voina.. even the likes of Brad Downey, all making history, even the lowliest street artists have more relevance to what's happening art historically right now than 99% of what commecial galleries are pushing. Forget the "art market" and auction house nonsense, they're leagues behind, they don't have the mental capacity to see beyond the bottom line. Look at the bigger picture, the art you follow on here and love, is changing communities, people, society even.. who knows. Viva Street Art, Viva la Revolucion ! :-) peace I agree and disagree. What I am about to say next is probably both highly contentious and a gross generalisation.
Basically it all comes back to the Maslow's hierarchy of needs.
Art has been working its way "downhill" for a long time. Or rather people have been working their way uphill. Art used to be the sole preserve of the upper class - back when there was very little in terms of a middle class and the lower classes were far to busy worrying where their next meal was coming from and keeping warm to concern them selves with much else.
The industrial revolution resulted in the growth of the middle class. This new group found they now had the time, education and finance to be able to involve themselves with art too - if still not to the extent that the upper class did.
Now the "lower" classes - I use that term very loosely, (i.e. the rest) - and include a lot of the 3rd world in there - are better educated and better off than they have ever been before, primarily due to the technological revolution, and they too find that they can now start thinking about and buying art - this is the revolution that you refer to.
The thing is, each of those "class-groups" tend to have different kinds of artists representing, speaking for and being supported by them. The growth of street art is in large part due to the relatively recent "self-actualisation" of the lower classes.
Where I disagree with you is that this is making the artists and institutions of the middle and upper classes irrelevant. The Tate, Christies and high end galleries dead in the water? No. On the contrary they are doing better than ever. Whereas buyer at places like Christies used to be primarily American and European, the market is now global. There's an awful lot of newly rich Russians, Chinese, Indians, Brazillians, and even richer Americans and Europeans who are all too willing to keep that top end of the market alive.
And its still generally the middle and upper classes writing the history books.
This quote is crack wrapped in fairy dust. In 20 years 99.999% of the walls done will have something else on them, if they are there are all. The only walls that will remain are the ones of artists who have achieved the status discussed prior. No one, and I mean no one is going to save something and go through the expense of restoring and preserving it if it has no relevance. Right now that relevance is defined largely by institutions and scholars. Only curated projects such as Wynwood Walls in Miami has any hope of controlling their walls with the type of archival effort that would be needed to use walls as an analog for an institution. Oh, I'd say you're absolutely right there. I guess there'll be a few Banksy's chopped out of walls and the occasional mural saved and presented to those that visit museums. The point was, that we're actually living through a period where there's a revolution going on in visual art language and culture. What was once reserved for the middle and upper class or those with a University education, is now accessible to all, free of charge, 24 hours a day, 7 days a week, and people have taken to it in droves. People whose last exposure to visual art was often their last high school class. And there's millions of them, fans, distributing content, daily, and they're becoming more and more educated, more and more refined, expecting better and better. Unsanctioned public art is still sweeping the globe, digitally and physically, from Newcastle to Gambia. And it will stay. Forever. It isn't a fad. It's a paradigm shift in how we use public space, how we relate to and use visual art and language, ultimately how we live. In the grand scheme of things it may seem minor. But on paper and through the lens of history, it will be seen as revolutionary. I know numerous people writing theor PHD's on it, it will bleed into academia and all aspects of the arts from architecture to design, urban planning to fashion. In fact already is. Now.. Pace, the Tate, Christies, Goldsmiths..where were they, where are they ? dead in the water, they have been rendered irrelevant. No one really gives a s**t about Oscar Murrilo or most of what's being pushed by commercial galleries. Cory Archangel and a few new media or digital artists maybe.. but the rest, the painters and sculptors ? they'll be quickly forgotten. Swoon, Os Gemeos, JR, Banksy, Barry McGee, Voina.. even the likes of Brad Downey, all making history, even the lowliest street artists have more relevance to what's happening art historically right now than 99% of what commecial galleries are pushing. Forget the "art market" and auction house nonsense, they're leagues behind, they don't have the mental capacity to see beyond the bottom line. Look at the bigger picture, the art you follow on here and love, is changing communities, people, society even.. who knows. Viva Street Art, Viva la Revolucion ! :-) peace I agree and disagree. What I am about to say next is probably both highly contentious and a gross generalisation. Basically it all comes back to the Maslow's hierarchy of needs. Art has been working its way "downhill" for a long time. Or rather people have been working their way uphill. Art used to be the sole preserve of the upper class - back when there was very little in terms of a middle class and the lower classes were far to busy worrying where their next meal was coming from and keeping warm to concern them selves with much else. The industrial revolution resulted in the growth of the middle class. This new group found they now had the time, education and finance to be able to involve themselves with art too - if still not to the extent that the upper class did. Now the "lower" classes - I use that term very loosely, (i.e. the rest) - and include a lot of the 3rd world in there - are better educated and better off than they have ever been before, primarily due to the technological revolution, and they too find that they can now start thinking about and buying art - this is the revolution that you refer to. The thing is, each of those "class-groups" tend to have different kinds of artists representing, speaking for and being supported by them. The growth of street art is in large part due to the relatively recent "self-actualisation" of the lower classes. Where I disagree with you is that this is making the artists and institutions of the middle and upper classes irrelevant. The Tate, Christies and high end galleries dead in the water? No. On the contrary they are doing better than ever. Whereas buyer at places like Christies used to be primarily American and European, the market is now global. There's an awful lot of newly rich Russians, Chinese, Indians, Brazillians, and even richer Americans and Europeans who are all too willing to keep that top end of the market alive. And its still generally the middle and upper classes writing the history books.
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graffuturism
New Member
Posts โข 754
Likes โข 771
March 2010
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Who is the next big thing?, by graffuturism on Mar 31, 2014 23:46:53 GMT 1, Fair enough, yet I would ask anyone to go research and look at the stars in the 80's who where considered great because auction prices and sales due to a strong economy, yet you look now and they are all but forgotten yet the artists like basquiat and haring have maintained there value. I'm not saying ours will be the same but be weary of markets predicting historical figures, especially in a market like today's.
Fair enough, yet I would ask anyone to go research and look at the stars in the 80's who where considered great because auction prices and sales due to a strong economy, yet you look now and they are all but forgotten yet the artists like basquiat and haring have maintained there value. I'm not saying ours will be the same but be weary of markets predicting historical figures, especially in a market like today's.
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spirit
Junior Member
Posts โข 2,956
Likes โข 516
August 2007
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Who is the next big thing?, by spirit on Mar 31, 2014 23:55:56 GMT 1, My vote for the next big thing
Customised 1210 Mk2s - now that's art!
Im self-actualising all over those.
My vote for the next big thing Customised 1210 Mk2s - now that's art! Im self-actualising all over those.
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Deleted
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January 1970
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Who is the next big thing?, by Deleted on Mar 31, 2014 23:57:53 GMT 1, Im voting for Bez, just seen him on Gogglebox, hes standing for local goverment.
Andrew Neil,consider your melon twisted you fking oaf.
Im voting for Bez, just seen him on Gogglebox, hes standing for local goverment.
Andrew Neil,consider your melon twisted you fking oaf.
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graffuturism
New Member
Posts โข 754
Likes โข 771
March 2010
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Who is the next big thing?, by graffuturism on Apr 1, 2014 0:45:33 GMT 1, Interesting Read a great Quote
"So hereโs my investment advice, for anybody coming to me wanting to know what art to buy. Itโs very simple: buy art you love, and which will grow on you as you live with it for many years to come. Buy from people whom you trust and admire, be they dealers or artists themselves. Assume that all the art you buy will have zero financial value the minute it goes up on your wall, and will stay at zero in perpetuity: if you still want to buy it, under those conditions, then do so with pride and gusto. And never, ever, let anybody shame you into thinking that youโre not rich enough, or not cultured enough, to buy art."
blogs.reuters.com/felix-salmon/2013/12/09/adventures-in-art-market-commodification-james-stewart-edition/
Interesting Read a great Quote "So hereโs my investment advice, for anybody coming to me wanting to know what art to buy. Itโs very simple: buy art you love, and which will grow on you as you live with it for many years to come. Buy from people whom you trust and admire, be they dealers or artists themselves. Assume that all the art you buy will have zero financial value the minute it goes up on your wall, and will stay at zero in perpetuity: if you still want to buy it, under those conditions, then do so with pride and gusto. And never, ever, let anybody shame you into thinking that youโre not rich enough, or not cultured enough, to buy art." blogs.reuters.com/felix-salmon/2013/12/09/adventures-in-art-market-commodification-james-stewart-edition/
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nrgball
Junior Member
Posts โข 1,225
Likes โข 648
January 2011
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Who is the next big thing?, by nrgball on Apr 1, 2014 1:37:13 GMT 1, Then please shed some light on who these post internet superstars will be that don't need the galleries and institutions. Since no one looks to the these anymore it sounds like you have some inside knowledge. The street. The Internet. Instagram. Facebook. Whatever. HowNosm at Pace ? how long after the street is that then ? 10 years ? 15 ? You think Pace legitimise HowNosm or it's the other way around now maybe ? That Os Gemeos are relevant because of their institution shows ? You have it all upside down. The power started to shift long ago. Large commercial galleries and auction houses are feeding on the carrion of a culture that moves far too quickly for them to retain any influence. They're selling expensive decoration to people who really don't give a s**t about the art. No one in academia or involved in the actual production of art and exhibitions gives it a second look. Blogs, forums, Hi Fructose and the likes of Hyperallergic are leagues ahead of what's sold and traded commercially. Auction Houses ? do me a favour..Rich people robbing even richer people. Irrelevant to art.
I agree. But out of this era will emerge a handful of artists that made a difference and will become relevant to the street art movement. There are a few who will survive because they were pioneers and others because of financial success. Then there will be those that made their mark on the history of the movement.
For example, no one was painting large scale murals until Blu began. And he was influenced by old school Italian painters. In any case, large scale murals in street art began because Blu broke the seal. It changed everything.
Watch who emerges in the coming years by mastering the large outdoor mural. I've got my eye set on a few.
Great conversation. I can't wait to contribute more.
Then please shed some light on who these post internet superstars will be that don't need the galleries and institutions. Since no one looks to the these anymore it sounds like you have some inside knowledge. The street. The Internet. Instagram. Facebook. Whatever. HowNosm at Pace ? how long after the street is that then ? 10 years ? 15 ? You think Pace legitimise HowNosm or it's the other way around now maybe ? That Os Gemeos are relevant because of their institution shows ? You have it all upside down. The power started to shift long ago. Large commercial galleries and auction houses are feeding on the carrion of a culture that moves far too quickly for them to retain any influence. They're selling expensive decoration to people who really don't give a s**t about the art. No one in academia or involved in the actual production of art and exhibitions gives it a second look. Blogs, forums, Hi Fructose and the likes of Hyperallergic are leagues ahead of what's sold and traded commercially. Auction Houses ? do me a favour..Rich people robbing even richer people. Irrelevant to art. I agree. But out of this era will emerge a handful of artists that made a difference and will become relevant to the street art movement. There are a few who will survive because they were pioneers and others because of financial success. Then there will be those that made their mark on the history of the movement. For example, no one was painting large scale murals until Blu began. And he was influenced by old school Italian painters. In any case, large scale murals in street art began because Blu broke the seal. It changed everything. Watch who emerges in the coming years by mastering the large outdoor mural. I've got my eye set on a few. Great conversation. I can't wait to contribute more.
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Deleted
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January 1970
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Who is the next big thing?, by Deleted on Apr 1, 2014 6:57:21 GMT 1, I'm a big fan of disruptive models, its how I build my wealth but you are confusing the rise of a new market with the overtaking of an established one. If there are 10,000 collectors buying works worth 100,000+ thats an art market of 1 billion dollars on the low end. If there are 100,000 collectors buying works worth 10,000 a market with 1 billion dollars. One is not eating the other. Its yet to be seen if this new market will really infect the institutional environment that has for some time archived what is important to art. There are few if any artists that have ever shown at the National Gallery in DC unless you consider Herring and Basquiat . Activity in contemporary art museums like the MOCA etc does bode well that the work may become part of the historical records. History shows a number of movements that had institutional support that are forgotten en.wikipedia.org/wiki/Neo-expressionismWill this outsider, urban movement go DIY on archiving itself outside of the institutional environment? That would be an interesting topic. I know personally my lofty life goal is to found my own museum that documents the work I love so that it can be remembered and studied. However to insist that this revolution is forever shows a lack of understanding of revolutions. I don't think I'm confusing anything, I'm not talking about markets at all, I'm talking about art, the "the next big thing" for me doesn't relate to the market at all. Markets have little or no bearing on art history or the relevance of an art movement or scholars attention. I'm talking about art. You're putting the cart before the horse as they say. As for the revolution in visual art, again, this has nothing to do with wealth, but about street art, where once there was little or no public art, now it's everywhere. The city council, wealthy patrons and inept public art committees no longer get to exclusively decide what art we see where. Artists do. This will stay. It will no doubt be assimilated to some extent, but still, it will stay in our culture, there'll be a demand, an expectation, from the public for vibrant relevant public art.
I'm a big fan of disruptive models, its how I build my wealth but you are confusing the rise of a new market with the overtaking of an established one. If there are 10,000 collectors buying works worth 100,000+ thats an art market of 1 billion dollars on the low end. If there are 100,000 collectors buying works worth 10,000 a market with 1 billion dollars. One is not eating the other. Its yet to be seen if this new market will really infect the institutional environment that has for some time archived what is important to art. There are few if any artists that have ever shown at the National Gallery in DC unless you consider Herring and Basquiat . Activity in contemporary art museums like the MOCA etc does bode well that the work may become part of the historical records. History shows a number of movements that had institutional support that are forgotten en.wikipedia.org/wiki/Neo-expressionismWill this outsider, urban movement go DIY on archiving itself outside of the institutional environment? That would be an interesting topic. I know personally my lofty life goal is to found my own museum that documents the work I love so that it can be remembered and studied. However to insist that this revolution is forever shows a lack of understanding of revolutions. I don't think I'm confusing anything, I'm not talking about markets at all, I'm talking about art, the "the next big thing" for me doesn't relate to the market at all. Markets have little or no bearing on art history or the relevance of an art movement or scholars attention. I'm talking about art. You're putting the cart before the horse as they say. As for the revolution in visual art, again, this has nothing to do with wealth, but about street art, where once there was little or no public art, now it's everywhere. The city council, wealthy patrons and inept public art committees no longer get to exclusively decide what art we see where. Artists do. This will stay. It will no doubt be assimilated to some extent, but still, it will stay in our culture, there'll be a demand, an expectation, from the public for vibrant relevant public art.
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AoT Framing
Art Gallery
New Member
Posts โข 570
Likes โข 292
April 2006
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Who is the next big thing?, by AoT Framing on Apr 1, 2014 12:12:12 GMT 1, Well he's been around for a few years and I'm biased as I sell work from him but JOHN SIMPSON gets my vote. A true Artist with a unique style, John is also a fantastic Print Maker (no giclee's ever!!) He's collected by mainly other Artist's such as Antony Micallef and has shown alongside Dali, Warhol and Hockney. John also provided the Artwork for Snow Patrol's last album "Fallen Empire's" Mainly working on monotypes, John has also started using Linen Canvas as a medium. The results are stunning and presently affordable! Last year I tipped HENRIK SIMONSEN (yes another Artist I sell work for) to groans from the forum. Last year Henrik's Canvas's were ยฃ6k, this year ยฃ15k (all sold) Pay attention y'all!!
Well he's been around for a few years and I'm biased as I sell work from him but JOHN SIMPSON gets my vote. A true Artist with a unique style, John is also a fantastic Print Maker (no giclee's ever!!) He's collected by mainly other Artist's such as Antony Micallef and has shown alongside Dali, Warhol and Hockney. John also provided the Artwork for Snow Patrol's last album "Fallen Empire's" Mainly working on monotypes, John has also started using Linen Canvas as a medium. The results are stunning and presently affordable! Last year I tipped HENRIK SIMONSEN (yes another Artist I sell work for) to groans from the forum. Last year Henrik's Canvas's were ยฃ6k, this year ยฃ15k (all sold) Pay attention y'all!!
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sin
New Member
Posts โข 614
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February 2013
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Who is the next big thing?, by sin on Apr 1, 2014 16:20:21 GMT 1, Put down the koolaid man.
We dont disagree that the current explosion of urban art, the growth of low brow are dramatic moments in contemporary art. However your insistence that this paradigm shift will extend all the way into historical context is stating facts not in evidence.
To say that money doesn't play an intricate part in what ends up being archived is entirely false. For something to be saved it cost money. The space cost money, the expertise to preserve it cost money, the study of it cost money. So people have to believe that this thing has value and that is either defined because it made a dramatic, epoch level type impact on something OR because someone decided it was worth that much (which is the reality of art, an object whose parts are worth far less than their price)
There is a dramatic difference between looking at art as a commodity (which I believe is what you are suggesting) and understanding how money works and the reality of how it impacts what gets held on to and what is discarded.
Up til now, the staircase, or ramp to this level of documentation and preservation has been driven by the rising of the career of the artist by that artist producing a body of work, with the support of a patron or collectors or in certain cases a posthumous review of their work in a later period, though this is much rarer.
For public art to participate in this, someone is going to have to save that wall, preserve it, its going to have to be able to last forever. Remember man, one of the most important works of art ever, the Last Supper was bricked over. So while all the wall work being done may be cool now, 60 years from now it will have flaked away, just like the last supper did and no one will remember 99.999% of it.
While you believe that public art is something new, there are many periods throughout history where are was part of the public forum, maybe not in the same manner as now, but its been there. What happens is tastes change, movements take over, what was once cool is passe and only the most distinct things are saved. Building owners may grow tired of giving their buildings over to be painted, it may become out of favor and then what is left? Outlaw pieces? It takes one guy to paint the wrong historic building for a city to become enraged and for other cities with similar historic treasures to follow suit. When the entire street thing falls out of favor, what is left? Who ends up in the MOMA? Who ends up in the National Gallery. These artists will be how urban art is largely remembered.
So unless the guys throwing up walls, put together cohesive bodies of work and are picked up by serious collectors and are noticed by the institutions that have up to this point defined the history of art, then few of them will be logged in the historic record. If all Da Vinci did was the Last Supper, its likely we would have never heard of him and that the work would have never been uncovered and painstakingly restored.
To assume that this revolution will exist forever is to believe you can buy more house than you can afford with an adjustable rate mortgage because housing values will continue to climb. There are few if any examples in history of something that continues to grow unabated other than human stupidity and war.
CD's were revolutionary and now you cant give them away to people. DVD's were revolutionary and Block buster is out of business and 100% of Netflix growth is in digital. Will museums remember these cultural revolutions of Media? Or will they be one piece of an exhibit where 60 years from now our great grand kids look at them with a confused look and ask What was that? Art is no different.
Put down the koolaid man.
We dont disagree that the current explosion of urban art, the growth of low brow are dramatic moments in contemporary art. However your insistence that this paradigm shift will extend all the way into historical context is stating facts not in evidence.
To say that money doesn't play an intricate part in what ends up being archived is entirely false. For something to be saved it cost money. The space cost money, the expertise to preserve it cost money, the study of it cost money. So people have to believe that this thing has value and that is either defined because it made a dramatic, epoch level type impact on something OR because someone decided it was worth that much (which is the reality of art, an object whose parts are worth far less than their price)
There is a dramatic difference between looking at art as a commodity (which I believe is what you are suggesting) and understanding how money works and the reality of how it impacts what gets held on to and what is discarded.
Up til now, the staircase, or ramp to this level of documentation and preservation has been driven by the rising of the career of the artist by that artist producing a body of work, with the support of a patron or collectors or in certain cases a posthumous review of their work in a later period, though this is much rarer.
For public art to participate in this, someone is going to have to save that wall, preserve it, its going to have to be able to last forever. Remember man, one of the most important works of art ever, the Last Supper was bricked over. So while all the wall work being done may be cool now, 60 years from now it will have flaked away, just like the last supper did and no one will remember 99.999% of it.
While you believe that public art is something new, there are many periods throughout history where are was part of the public forum, maybe not in the same manner as now, but its been there. What happens is tastes change, movements take over, what was once cool is passe and only the most distinct things are saved. Building owners may grow tired of giving their buildings over to be painted, it may become out of favor and then what is left? Outlaw pieces? It takes one guy to paint the wrong historic building for a city to become enraged and for other cities with similar historic treasures to follow suit. When the entire street thing falls out of favor, what is left? Who ends up in the MOMA? Who ends up in the National Gallery. These artists will be how urban art is largely remembered.
So unless the guys throwing up walls, put together cohesive bodies of work and are picked up by serious collectors and are noticed by the institutions that have up to this point defined the history of art, then few of them will be logged in the historic record. If all Da Vinci did was the Last Supper, its likely we would have never heard of him and that the work would have never been uncovered and painstakingly restored.
To assume that this revolution will exist forever is to believe you can buy more house than you can afford with an adjustable rate mortgage because housing values will continue to climb. There are few if any examples in history of something that continues to grow unabated other than human stupidity and war.
CD's were revolutionary and now you cant give them away to people. DVD's were revolutionary and Block buster is out of business and 100% of Netflix growth is in digital. Will museums remember these cultural revolutions of Media? Or will they be one piece of an exhibit where 60 years from now our great grand kids look at them with a confused look and ask What was that? Art is no different.
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kittysaz
New Member
Posts โข 389
Likes โข 271
February 2014
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Who is the next big thing?, by kittysaz on Apr 1, 2014 16:51:11 GMT 1, Personally, I just like what I like, and love to put it up at home. It's as simple as that...I look on here at all the various prices of things and some are staggering... But best of luck to all the artists who make to make a living out if something they love to do.
Personally, I just like what I like, and love to put it up at home. It's as simple as that...I look on here at all the various prices of things and some are staggering... But best of luck to all the artists who make to make a living out if something they love to do.
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Deleted
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January 1970
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Who is the next big thing?, by Deleted on Apr 1, 2014 17:18:25 GMT 1, Can I ask what you do for a living Sin ? economics or ? It seems to dramatically colour your world view.
Can I ask what you do for a living Sin ? economics or ? It seems to dramatically colour your world view.
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sin
New Member
Posts โข 614
Likes โข 737
February 2013
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Who is the next big thing?, by sin on Apr 1, 2014 17:50:13 GMT 1, I was born dirt poor, lived in public housing and at government cheese. I left home and lived in a squat with other artists friends from the time I was 15. I never graduated high school, and started my first business at 16, which pivoted into an event promotion business by 18. For the last 5 years I've been a senior executive within the performance marketing industry and currently sit on the board of 2 companies, one of which is a mail order pharmacy and durable medical equipment company. I also work on some projects related to art, such as bringing urban art into corporate environments as a way to ignite a space, boost moral and set a tone.
When I'm not doing that I donate my services for a project to help revitalize a historic landmark in Miami www.marinestadium.org by connecting urban art to the mission as a way to activate supporters and donors to help return this piece of modernist architecture to the people of Miami as a public park.
I have this belief that money is not evil, people can be evil, poor or rich. My goal is to utilize money to help do good and help support the arts in a way that hopefully ensures that this unique period of time is studies and preserved for future generations. The unfortunate reality is that everything cost money and moneyless Utopian efforts are often short lived.
Patrons and benefactors have help push art forward and while some are parasitic (like the flipper guy in the article posted yesterday) , those parasites (like all parasites) eventually die. Throughout history patrons have used their money to help protect art. The cloisters in NY is a good example. Art that would otherwise have died was protected in this bucolic environment for everyone to enjoy. Dont assume there is a devil behind every ledger, its just not the case. Look into the character of a person and you will see that money simply amplifies that character.
Money will never cease being the way the world works. Currency of some type has been in place for thousands of years and it will continue to be in place for thousands more. Once you realize this and understand how the flow of value works you will be able to harness it to help achieve your goals. I would love to see you or anyone save walls and shift the paradigm of how art is archived, preserved and presented. However to do that you will need money.
I was born dirt poor, lived in public housing and at government cheese. I left home and lived in a squat with other artists friends from the time I was 15. I never graduated high school, and started my first business at 16, which pivoted into an event promotion business by 18. For the last 5 years I've been a senior executive within the performance marketing industry and currently sit on the board of 2 companies, one of which is a mail order pharmacy and durable medical equipment company. I also work on some projects related to art, such as bringing urban art into corporate environments as a way to ignite a space, boost moral and set a tone. When I'm not doing that I donate my services for a project to help revitalize a historic landmark in Miami www.marinestadium.org by connecting urban art to the mission as a way to activate supporters and donors to help return this piece of modernist architecture to the people of Miami as a public park. I have this belief that money is not evil, people can be evil, poor or rich. My goal is to utilize money to help do good and help support the arts in a way that hopefully ensures that this unique period of time is studies and preserved for future generations. The unfortunate reality is that everything cost money and moneyless Utopian efforts are often short lived. Patrons and benefactors have help push art forward and while some are parasitic (like the flipper guy in the article posted yesterday) , those parasites (like all parasites) eventually die. Throughout history patrons have used their money to help protect art. The cloisters in NY is a good example. Art that would otherwise have died was protected in this bucolic environment for everyone to enjoy. Dont assume there is a devil behind every ledger, its just not the case. Look into the character of a person and you will see that money simply amplifies that character. Money will never cease being the way the world works. Currency of some type has been in place for thousands of years and it will continue to be in place for thousands more. Once you realize this and understand how the flow of value works you will be able to harness it to help achieve your goals. I would love to see you or anyone save walls and shift the paradigm of how art is archived, preserved and presented. However to do that you will need money.
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Hubble Bubble
Junior Member
Posts โข 4,111
Likes โข 3,558
December 2010
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Who is the next big thing?, by Hubble Bubble on Apr 1, 2014 17:53:29 GMT 1, Do you have a beard, sin?
Do you have a beard, sin?
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Deleted
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January 1970
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Who is the next big thing?, by Deleted on Apr 1, 2014 18:00:09 GMT 1, Well done sin, always good to hear a success story and you come across grounded with it.
Well done sin, always good to hear a success story and you come across grounded with it.
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Unica
Junior Member
Posts โข 2,060
Likes โข 1,222
November 2013
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Who is the next big thing?, by Unica on Apr 1, 2014 18:06:19 GMT 1, I personally really like Swoon's work, folksy, pasteups, handworked edition variants, street history. Plus with the show at the Brooklyn Museum, well that is going to take her to the next level, I hear some major museums have picked up some of the work. She also had a really professional team around her as well, I've picked up a few pieces and they were delightful. Her work has a style unique to her, when you see a Swoon piece you know its by her. I've spoken to several galleries and a few successful owners are picking up as many pieces now as possible.
Her last release Kamayura Edition variant of 45 pieces sold out almost instantly at roughly $3500 a piece, very reasonable IMO for pieces that are virtually unique. Not sure if she will do anymore releases.
Really looking forward to the show.
www.brooklynmuseum.org/exhibitions/swoon/
I personally really like Swoon's work, folksy, pasteups, handworked edition variants, street history. Plus with the show at the Brooklyn Museum, well that is going to take her to the next level, I hear some major museums have picked up some of the work. She also had a really professional team around her as well, I've picked up a few pieces and they were delightful. Her work has a style unique to her, when you see a Swoon piece you know its by her. I've spoken to several galleries and a few successful owners are picking up as many pieces now as possible. Her last release Kamayura Edition variant of 45 pieces sold out almost instantly at roughly $3500 a piece, very reasonable IMO for pieces that are virtually unique. Not sure if she will do anymore releases. Really looking forward to the show. www.brooklynmuseum.org/exhibitions/swoon/
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nrgball
Junior Member
Posts โข 1,225
Likes โข 648
January 2011
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Who is the next big thing?, by nrgball on Apr 1, 2014 19:23:41 GMT 1, I personally really like Swoon's work, folksy, pasteups, handworked edition variants, street history. Plus with the show at the Brooklyn Museum, well that is going to take her to the next level, I hear some major museums have picked up some of the work. She also had a really professional team around her as well, I've picked up a few pieces and they were delightful. Her work has a style unique to her, when you see a Swoon piece you know its by her. I've spoken to several galleries and a few successful owners are picking up as many pieces now as possible. Her last release Kamayura Edition variant of 45 pieces sold out almost instantly at roughly $3500 a piece, very reasonable IMO for pieces that are virtually unique. Not sure if she will do anymore releases. Really looking forward to the show. www.brooklynmuseum.org/exhibitions/swoon/
I hear there is another edition in the works
I personally really like Swoon's work, folksy, pasteups, handworked edition variants, street history. Plus with the show at the Brooklyn Museum, well that is going to take her to the next level, I hear some major museums have picked up some of the work. She also had a really professional team around her as well, I've picked up a few pieces and they were delightful. Her work has a style unique to her, when you see a Swoon piece you know its by her. I've spoken to several galleries and a few successful owners are picking up as many pieces now as possible. Her last release Kamayura Edition variant of 45 pieces sold out almost instantly at roughly $3500 a piece, very reasonable IMO for pieces that are virtually unique. Not sure if she will do anymore releases. Really looking forward to the show. www.brooklynmuseum.org/exhibitions/swoon/I hear there is another edition in the works
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Manty
New Member
Posts โข 969
Likes โข 604
May 2013
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Who is the next big thing?, by Manty on Apr 1, 2014 19:41:14 GMT 1, When did Connor Harrington get so expensive
I missed the boat on him big time, always though i'd pick up a nice original at a nice price, so was never in a rush, now that plan turned to shit
Just seen this. Lovely and big, but whoa at the price
paddle8.com/work/conor-harrington/27508-the-savages
When did Connor Harrington get so expensive I missed the boat on him big time, always though i'd pick up a nice original at a nice price, so was never in a rush, now that plan turned to shit Just seen this. Lovely and big, but whoa at the price paddle8.com/work/conor-harrington/27508-the-savages
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sin
New Member
Posts โข 614
Likes โข 737
February 2013
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Who is the next big thing?, by sin on Apr 1, 2014 19:51:09 GMT 1, Don't feel bad, a lot of us missed the Conor boat.
Noticed in that same auction a Maya Hayuk is at 10K. Looks like I may be missing that boat if I dont get off my ass.
Don't feel bad, a lot of us missed the Conor boat.
Noticed in that same auction a Maya Hayuk is at 10K. Looks like I may be missing that boat if I dont get off my ass.
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Who is the next big thing?, by Coach on Apr 1, 2014 20:04:43 GMT 1, When did Connor Harrington get so expensive I missed the boat on him big time, always though i'd pick up a nice original at a nice price, so was never in a rush, now that plan turned to s**t Just seen this. Lovely and big, but whoa at the price paddle8.com/work/conor-harrington/27508-the-savages
Blimey! Did I manage to buy something at the right time??
My usual modus operandi is to buy when things peak and sell just before they sky rocket!!
When did Connor Harrington get so expensive I missed the boat on him big time, always though i'd pick up a nice original at a nice price, so was never in a rush, now that plan turned to s**t Just seen this. Lovely and big, but whoa at the price paddle8.com/work/conor-harrington/27508-the-savagesBlimey! Did I manage to buy something at the right time?? My usual modus operandi is to buy when things peak and sell just before they sky rocket!!
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Deleted
Posts โข 0
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January 1970
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Who is the next big thing?, by Deleted on Apr 1, 2014 20:07:28 GMT 1, Thanks for the indepth response Sin. Always good to get a picture of the person behind the posts. We can agree to differ.
Thanks for the indepth response Sin. Always good to get a picture of the person behind the posts. We can agree to differ.
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sin
New Member
Posts โข 614
Likes โข 737
February 2013
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Who is the next big thing?, by sin on Apr 1, 2014 20:30:14 GMT 1, Thanks for the indepth response Sin. Always good to get a picture of the person behind the posts. We can agree to differ. Apologies for being long winded, its been a lifelong cross to bear.
You have me at a disadvantage though, you know my philosophy but I dont clearly know yours. Im genuinely curious, as I am a big fan of ideas over beliefs and find other peoples perspectives inspiring.
If I understand a bit, I believe your coming from the position that urban art has created such a paradigm shift that the documentation, preservation and study of it has been democratized. This is to mean that the community can act as a patron, removing the need for large patrons to serve this role, removing the market / gallery and traditional institution model from their tradition roles and instead achieving those ends through new mechanisms?
Thanks for the indepth response Sin. Always good to get a picture of the person behind the posts. We can agree to differ. Apologies for being long winded, its been a lifelong cross to bear. You have me at a disadvantage though, you know my philosophy but I dont clearly know yours. Im genuinely curious, as I am a big fan of ideas over beliefs and find other peoples perspectives inspiring. If I understand a bit, I believe your coming from the position that urban art has created such a paradigm shift that the documentation, preservation and study of it has been democratized. This is to mean that the community can act as a patron, removing the need for large patrons to serve this role, removing the market / gallery and traditional institution model from their tradition roles and instead achieving those ends through new mechanisms?
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Deleted
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January 1970
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Who is the next big thing?, by Deleted on Apr 1, 2014 20:57:17 GMT 1, Thanks for the indepth response Sin. Always good to get a picture of the person behind the posts. We can agree to differ. Apologies for being long winded, its been a lifelong cross to bear. You have me at a disadvantage though, you know my philosophy but I dont clearly know yours. Im genuinely curious, as I am a big fan of ideas over beliefs and find other peoples perspectives inspiring. If I understand a bit, I believe your coming from the position that urban art has created such a paradigm shift that the documentation, preservation and study of it has been democratized. This is to mean that the community can act as a patron, removing the need for large patrons to serve this role, removing the market / gallery and traditional institution model from their tradition roles and instead achieving those ends through new mechanisms? A perfect summary, of course the old modes and models will still exist, but I believe the primary mechanism for being considered relevant to a particular epoch will no longer be decided in a traditional manner, through patronage etc. New museums will be built, are being built, and what goes in them, has already been decided by this community.
If interested in delving into the subject matter further then I think you (and others) would find this essay interesting, it's from Prof Martin Irvine. It's one of the most rigorous and comprehensive essays on the culture yet : www9.georgetown.edu/faculty/irvinem/articles/Irvine-WorkontheStreet-1.pdf
Thanks for the indepth response Sin. Always good to get a picture of the person behind the posts. We can agree to differ. Apologies for being long winded, its been a lifelong cross to bear. You have me at a disadvantage though, you know my philosophy but I dont clearly know yours. Im genuinely curious, as I am a big fan of ideas over beliefs and find other peoples perspectives inspiring. If I understand a bit, I believe your coming from the position that urban art has created such a paradigm shift that the documentation, preservation and study of it has been democratized. This is to mean that the community can act as a patron, removing the need for large patrons to serve this role, removing the market / gallery and traditional institution model from their tradition roles and instead achieving those ends through new mechanisms?A perfect summary, of course the old modes and models will still exist, but I believe the primary mechanism for being considered relevant to a particular epoch will no longer be decided in a traditional manner, through patronage etc. New museums will be built, are being built, and what goes in them, has already been decided by this community. If interested in delving into the subject matter further then I think you (and others) would find this essay interesting, it's from Prof Martin Irvine. It's one of the most rigorous and comprehensive essays on the culture yet : www9.georgetown.edu/faculty/irvinem/articles/Irvine-WorkontheStreet-1.pdf
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Dungle
Junior Member
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June 2011
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Who is the next big thing?, by Dungle on Apr 1, 2014 21:01:15 GMT 1, Great thread.
Great thread.
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bjornca
New Member
Posts โข 635
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October 2010
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Who is the next big thing?, by bjornca on Apr 1, 2014 22:13:34 GMT 1, Don't feel bad, a lot of us missed the Conor boat. Noticed in that same auction a Maya Hayuk is at 10K. Looks like I may be missing that boat if I dont get off my ass. It seems like this happened with Katrin Fridriks in re:define as well two years ago, when she sold well at this auction, but prices skyrocketed a few months thereafter at Artcurial and subsequent auctions.
Don't feel bad, a lot of us missed the Conor boat. Noticed in that same auction a Maya Hayuk is at 10K. Looks like I may be missing that boat if I dont get off my ass. It seems like this happened with Katrin Fridriks in re:define as well two years ago, when she sold well at this auction, but prices skyrocketed a few months thereafter at Artcurial and subsequent auctions.
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