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 22:15:32 GMT 1, I say fragile and wiz, we have the chapman brothers, we like static duo and I think this duo after launching the fragile and wiz bne water day tee shirts will go from strength to strength.
I say fragile and wiz, we have the chapman brothers, we like static duo and I think this duo after launching the fragile and wiz bne water day tee shirts will go from strength to strength.
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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 22:44:24 GMT 1, 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. ย 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. ย 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
Interesting read. Thank you for the link.
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. ย 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. ย 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.pdfInteresting read. Thank you for the link.
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Trismanco
Art Gallery
New Member
Posts โข 387
Likes โข 100
December 2006
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Who is the next big thing?, by Trismanco on Apr 1, 2014 22:49:34 GMT 1, Agreed - usually these ones to watch threads end up being about which artists to "buy" into...
There have been some interesting opinions on who is up and coming, many of which I would have considered already established and some of the newer names are gaining a reputation on the Street Art festival scene. However some nice picks in the thread.
Where it's really gotten interesting (Thanks Nuart) is actually switching the focus to the art and not to its perceived value. As an arts author my mission is to showcase fantastic art from wherever it comes from - fine art, comics, illustration, animation, the street... The value of the art is immaterial - its whether it gets other people excited!
Agreed - usually these ones to watch threads end up being about which artists to "buy" into... There have been some interesting opinions on who is up and coming, many of which I would have considered already established and some of the newer names are gaining a reputation on the Street Art festival scene. However some nice picks in the thread. Where it's really gotten interesting (Thanks Nuart) is actually switching the focus to the art and not to its perceived value. As an arts author my mission is to showcase fantastic art from wherever it comes from - fine art, comics, illustration, animation, the street... The value of the art is immaterial - its whether it gets other people excited!
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graffuturism
New Member
Posts โข 754
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March 2010
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Who is the next big thing?, by graffuturism on Apr 1, 2014 22:51:25 GMT 1, I agree with nuart on this but wont rehash all of whats been argued. And yes great thread.
I agree with nuart on this but wont rehash all of whats been argued. And yes great thread.
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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 23:03:35 GMT 1, the next big thing is what Dr Jimmy is after - hes pretty good at this
the next big thing is what Dr Jimmy is after - hes pretty good at this
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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 23:35:16 GMT 1, Picasso and other artists prices rose steadily and slowly over the years and soared after their death.
Today artists prices are soaring in order for some people to make a big profit quickly because of tax loopholes and such things where people can use art as a commodity. Hedge funds and such things.
How much of this art is sitting in vaults now and people worried that the millions they spent, was spent on something that could be worth nothing in a few years or at least a fraction of what they paid?
s**t art is being hyped by the big money men.
There again it's all fixed and based on bulls**t.
The next big thing is whatever the big money decides to promote in the media and use their PR machine to tell us all it's the next big thing while artificially creating record auction prices by buying the art themselves that they put in auctions and driving up the sale price and then telling us that some rich collector decided it was worth spending a million $ on a pile of s**t that any person could do by scribbling paint onto a piece of canvas or paper.
So they choose a performing monkey who they tell is the worlds greatest artist since Leonardo Van Gogh.
They stick some of their stuff in an auction. They bid up the sale price using their own money.
Some say the auction houses are in on this scheme.
They get their agents or pals in the media to make a story about this so called record price
Then they sell the crap to people with more money than sense who think they have a solid gold investment.
Thats fine till too many decide to stick this art in auction and the prices come crashing ddown.
The day that it's made illegal for dealers to bid on the art they put in auction and own and for the auction houses to be banned from chandelier bidding up the price a sin non existent bidders to pretend that the art sold when it didn't will be a good day for art.
If people think the next big thing is whatever has the big money PR machine promoting it thats another world.
How many of these record prices that high climbing artists achieve are real or created by the dealers themselves.
Art is a visual illusion and so is the art world today.
Street art was hyped by the big dealers and money men the same way as we had the wave of Chinese modern art a few years ago.
There was a buying frenzy and then people got bored with it.
Street art will go the same way leaving a few artists who sell steadily and the next big thing will be whatever the money men decide to hype up.
Picasso and other artists prices rose steadily and slowly over the years and soared after their death.
Today artists prices are soaring in order for some people to make a big profit quickly because of tax loopholes and such things where people can use art as a commodity. Hedge funds and such things.
How much of this art is sitting in vaults now and people worried that the millions they spent, was spent on something that could be worth nothing in a few years or at least a fraction of what they paid?
s**t art is being hyped by the big money men.
There again it's all fixed and based on bulls**t.
The next big thing is whatever the big money decides to promote in the media and use their PR machine to tell us all it's the next big thing while artificially creating record auction prices by buying the art themselves that they put in auctions and driving up the sale price and then telling us that some rich collector decided it was worth spending a million $ on a pile of s**t that any person could do by scribbling paint onto a piece of canvas or paper.
So they choose a performing monkey who they tell is the worlds greatest artist since Leonardo Van Gogh.
They stick some of their stuff in an auction. They bid up the sale price using their own money.
Some say the auction houses are in on this scheme.
They get their agents or pals in the media to make a story about this so called record price
Then they sell the crap to people with more money than sense who think they have a solid gold investment.
Thats fine till too many decide to stick this art in auction and the prices come crashing ddown.
The day that it's made illegal for dealers to bid on the art they put in auction and own and for the auction houses to be banned from chandelier bidding up the price a sin non existent bidders to pretend that the art sold when it didn't will be a good day for art.
If people think the next big thing is whatever has the big money PR machine promoting it thats another world.
How many of these record prices that high climbing artists achieve are real or created by the dealers themselves.
Art is a visual illusion and so is the art world today.
Street art was hyped by the big dealers and money men the same way as we had the wave of Chinese modern art a few years ago.
There was a buying frenzy and then people got bored with it.
Street art will go the same way leaving a few artists who sell steadily and the next big thing will be whatever the money men decide to hype up.
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stvro22
New Member
Posts โข 668
Likes โข 261
February 2013
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Who is the next big thing?, by stvro22 on Apr 2, 2014 1:56:35 GMT 1, Picasso and other artists prices rose steadily and slowly over the years and soared after their death. Today artists prices are soaring in order for some people to make a big profit quickly because of tax loopholes and such things where people can use art as a commodity. Hedge funds and such things. How much of this art is sitting in vaults now and people worried that the millions they spent, was spent on something that could be worth nothing in a few years or at least a fraction of what they paid? s**t art is being hyped by the big money men. There again it's all fixed and based on bulls**t. The next big thing is whatever the big money decides to promote in the media and use their PR machine to tell us all it's the next big thing while artificially creating record auction prices by buying the art themselves that they put in auctions and driving up the sale price and then telling us that some rich collector decided it was worth spending a million $ on a pile of s**t that any person could do by scribbling paint onto a piece of canvas or paper. So they choose a performing monkey who they tell is the worlds greatest artist since Leonardo Van Gogh. They stick some of their stuff in an auction. They bid up the sale price using their own money. Some say the auction houses are in on this scheme. They get their agents or pals in the media to make a story about this so called record price Then they sell the crap to people with more money than sense who think they have a solid gold investment. Thats fine till too many decide to stick this art in auction and the prices come crashing ddown. The day that it's made illegal for dealers to bid on the art they put in auction and own and for the auction houses to be banned from chandelier bidding up the price a sin non existent bidders to pretend that the art sold when it didn't will be a good day for art. If people think the next big thing is whatever has the big money PR machine promoting it thats another world. How many of these record prices that high climbing artists achieve are real or created by the dealers themselves. Art is a visual illusion and so is the art world today. Street art was hyped by the big dealers and money men the same way as we had the wave of Chinese modern art a few years ago. There was a buying frenzy and then people got bored with it. ย Street art will go the same way leaving a few artists who sell steadily and the next big thing will be whatever the money men decide to hype up.
Bravo!!!!! Great post!!
Picasso and other artists prices rose steadily and slowly over the years and soared after their death. Today artists prices are soaring in order for some people to make a big profit quickly because of tax loopholes and such things where people can use art as a commodity. Hedge funds and such things. How much of this art is sitting in vaults now and people worried that the millions they spent, was spent on something that could be worth nothing in a few years or at least a fraction of what they paid? s**t art is being hyped by the big money men. There again it's all fixed and based on bulls**t. The next big thing is whatever the big money decides to promote in the media and use their PR machine to tell us all it's the next big thing while artificially creating record auction prices by buying the art themselves that they put in auctions and driving up the sale price and then telling us that some rich collector decided it was worth spending a million $ on a pile of s**t that any person could do by scribbling paint onto a piece of canvas or paper. So they choose a performing monkey who they tell is the worlds greatest artist since Leonardo Van Gogh. They stick some of their stuff in an auction. They bid up the sale price using their own money. Some say the auction houses are in on this scheme. They get their agents or pals in the media to make a story about this so called record price Then they sell the crap to people with more money than sense who think they have a solid gold investment. Thats fine till too many decide to stick this art in auction and the prices come crashing ddown. The day that it's made illegal for dealers to bid on the art they put in auction and own and for the auction houses to be banned from chandelier bidding up the price a sin non existent bidders to pretend that the art sold when it didn't will be a good day for art. If people think the next big thing is whatever has the big money PR machine promoting it thats another world. How many of these record prices that high climbing artists achieve are real or created by the dealers themselves. Art is a visual illusion and so is the art world today. Street art was hyped by the big dealers and money men the same way as we had the wave of Chinese modern art a few years ago. There was a buying frenzy and then people got bored with it. ย Street art will go the same way leaving a few artists who sell steadily and the next big thing will be whatever the money men decide to hype up. Bravo!!!!! Great post!!
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Phear Loathing
Junior Member
Posts โข 1,377
Likes โข 420
October 2010
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Who is the next big thing?, by Phear Loathing on Apr 2, 2014 3:41:43 GMT 1, Picasso and other artists prices rose steadily and slowly over the years and soared after their death. Today artists prices are soaring in order for some people to make a big profit quickly because of tax loopholes and such things where people can use art as a commodity. Hedge funds and such things. How much of this art is sitting in vaults now and people worried that the millions they spent, was spent on something that could be worth nothing in a few years or at least a fraction of what they paid? s**t art is being hyped by the big money men. There again it's all fixed and based on bulls**t. The next big thing is whatever the big money decides to promote in the media and use their PR machine to tell us all it's the next big thing while artificially creating record auction prices by buying the art themselves that they put in auctions and driving up the sale price and then telling us that some rich collector decided it was worth spending a million $ on a pile of s**t that any person could do by scribbling paint onto a piece of canvas or paper. So they choose a performing monkey who they tell is the worlds greatest artist since Leonardo Van Gogh. They stick some of their stuff in an auction. They bid up the sale price using their own money. Some say the auction houses are in on this scheme. They get their agents or pals in the media to make a story about this so called record price Then they sell the crap to people with more money than sense who think they have a solid gold investment. Thats fine till too many decide to stick this art in auction and the prices come crashing ddown. The day that it's made illegal for dealers to bid on the art they put in auction and own and for the auction houses to be banned from chandelier bidding up the price a sin non existent bidders to pretend that the art sold when it didn't will be a good day for art. If people think the next big thing is whatever has the big money PR machine promoting it thats another world. How many of these record prices that high climbing artists achieve are real or created by the dealers themselves. Art is a visual illusion and so is the art world today. Street art was hyped by the big dealers and money men the same way as we had the wave of Chinese modern art a few years ago. There was a buying frenzy and then people got bored with it. Street art will go the same way leaving a few artists who sell steadily and the next big thing will be whatever the money men decide to hype up. Bravo!!!!! Great post!! Lol if you think big money men care about street art. They have one guy that achieves major auction results ( banksy). Contemporary yes, urban not chance.
Picasso and other artists prices rose steadily and slowly over the years and soared after their death. Today artists prices are soaring in order for some people to make a big profit quickly because of tax loopholes and such things where people can use art as a commodity. Hedge funds and such things. How much of this art is sitting in vaults now and people worried that the millions they spent, was spent on something that could be worth nothing in a few years or at least a fraction of what they paid? s**t art is being hyped by the big money men. There again it's all fixed and based on bulls**t. The next big thing is whatever the big money decides to promote in the media and use their PR machine to tell us all it's the next big thing while artificially creating record auction prices by buying the art themselves that they put in auctions and driving up the sale price and then telling us that some rich collector decided it was worth spending a million $ on a pile of s**t that any person could do by scribbling paint onto a piece of canvas or paper. So they choose a performing monkey who they tell is the worlds greatest artist since Leonardo Van Gogh. They stick some of their stuff in an auction. They bid up the sale price using their own money. Some say the auction houses are in on this scheme. They get their agents or pals in the media to make a story about this so called record price Then they sell the crap to people with more money than sense who think they have a solid gold investment. Thats fine till too many decide to stick this art in auction and the prices come crashing ddown. The day that it's made illegal for dealers to bid on the art they put in auction and own and for the auction houses to be banned from chandelier bidding up the price a sin non existent bidders to pretend that the art sold when it didn't will be a good day for art. If people think the next big thing is whatever has the big money PR machine promoting it thats another world. How many of these record prices that high climbing artists achieve are real or created by the dealers themselves. Art is a visual illusion and so is the art world today. Street art was hyped by the big dealers and money men the same way as we had the wave of Chinese modern art a few years ago. There was a buying frenzy and then people got bored with it. Street art will go the same way leaving a few artists who sell steadily and the next big thing will be whatever the money men decide to hype up. Bravo!!!!! Great post!! Lol if you think big money men care about street art. They have one guy that achieves major auction results ( banksy). Contemporary yes, urban not chance.
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Iqra'a
New Member
Posts โข 608
Likes โข 811
November 2013
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Who is the next big thing?, by Iqra'a on Apr 2, 2014 8:19:06 GMT 1, Both How & Nosm and Martin Whatson recently had sold out shows. I probably hold a biased opinion as I've followed these two from the start, but I think they are potential candidates.
Would really like to hear thoughts on this.
Both How & Nosm and Martin Whatson recently had sold out shows. I probably hold a biased opinion as I've followed these two from the start, but I think they are potential candidates.
Would really like to hear thoughts on this.
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Poster Bob
Junior Member
Posts โข 5,872
Likes โข 5,484
September 2013
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Who is the next big thing?, by Poster Bob on Apr 2, 2014 10:34:58 GMT 1, Martin Whatson is currently at the peak of his career and it is only downhill from here. I believe that he will continue flogging a dead horse on his road to obscurity.
Martin Whatson is currently at the peak of his career and it is only downhill from here. I believe that he will continue flogging a dead horse on his road to obscurity.
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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 2, 2014 14:06:52 GMT 1, clatl.com/freshloaf/archives/2014/03/20/city-hall-wants-to-regulate-art-on-private-property
To my prior point that public art's longevity is at risk from government and trend.
From the article The effort is being led by Councilwoman Joyce Sheperd and is similar to a measure pitched last summer - and blasted by CL - to create a public-art approval process. The policy change was proposed in reaction to controversy over Living Walls murals in Southeast Atlanta and the Pittsburgh neighborhood.
clatl.com/freshloaf/archives/2014/03/20/city-hall-wants-to-regulate-art-on-private-propertyTo my prior point that public art's longevity is at risk from government and trend. From the article The effort is being led by Councilwoman Joyce Sheperd and is similar to a measure pitched last summer - and blasted by CL - to create a public-art approval process. The policy change was proposed in reaction to controversy over Living Walls murals in Southeast Atlanta and the Pittsburgh neighborhood.
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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 2, 2014 14:23:30 GMT 1, clatl.com/freshloaf/archives/2014/03/20/city-hall-wants-to-regulate-art-on-private-propertyTo my prior point that public art's longevity is at risk from government and trend. From the article The effort is being led by Councilwoman Joyce Sheperd and is similar to a measure pitched last summer - and blasted by CL - to create a public-art approval process. The policy change was proposed in reaction to controversy over Living Walls murals in Southeast Atlanta and the Pittsburgh neighborhood. Its always been this way people are just starting to regulate old laws that were made to curb advertisement, yet I dont think it will matter regardless if a city tries to intervene in public art. Artists from our generation have always learned to adapt and will do so accordingly. A city ordinance was never in our vocabulary when we thought about painting our first wall and I dont see it as being any more important today.
clatl.com/freshloaf/archives/2014/03/20/city-hall-wants-to-regulate-art-on-private-propertyTo my prior point that public art's longevity is at risk from government and trend. From the article The effort is being led by Councilwoman Joyce Sheperd and is similar to a measure pitched last summer - and blasted by CL - to create a public-art approval process. The policy change was proposed in reaction to controversy over Living Walls murals in Southeast Atlanta and the Pittsburgh neighborhood. Its always been this way people are just starting to regulate old laws that were made to curb advertisement, yet I dont think it will matter regardless if a city tries to intervene in public art. Artists from our generation have always learned to adapt and will do so accordingly. A city ordinance was never in our vocabulary when we thought about painting our first wall and I dont see it as being any more important today.
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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 2, 2014 15:56:51 GMT 1, In addition to this point, which I want to expand on their are 2 others.
1. After reading the essay linked above, it reiterated a point that I touched on prior. "Street art, c. 2010, is a paradigm of hybridity in global visual culture, a post-postmodern genre being defined more by real-time practice than by any sense of unified theory, movement, or message."
2. That the role of patrons or rather the role of money is still vital to this work.
First the point of governments and building owners being a single point of failure on the supply side of the equation. While I agree that street art existed prior and was prolific, its only since sanctioned murals came about that these epic, multi-day (if not weeks) pieces, like the recent 70 foot x 70 foot murals in West Palm Beach but Tristan Eaton or any of the 100 foot plus pieces by ETAM cru came into being. Its rare that a piece of this scale can be pulled off without the approval of the owner and or the government. Street art festivals would cease to exist as they cant occur without the support of both. If you remove this approval by these stakehodlers then urban art goes back to smaller, outlaw works that while still impactful and key to the culture would be a drastic downshift on impact. Its a foregone conclusion to me that the governments are one "big hairy dick" or unpopular political statement away from putting their foot down and building owners are one lawsuit / liability concern away from the same situation.
I'm a big fan of bringing the solution, not the problem, so I suggest that patrons work on buying up buildings and getting on city planning boards to protect the art. I'm a big fan of being a virus, vs trying to fight a system from outside itself. Tony Goldman who produced Wynwood Walls took that approach and due to that he created enough gravity that the city would be hard pressed to curtail his efforts. Without this sort of control of the space the community is at the whim of stakeholders that have conflicts.
Secondly the lack of common theory, movement, or message. This presuposes that urban art will not be able to fully develop the archival and scolastics functions that museums currently provide. Assuming the crumbling of institutions under the weight of crowd documentation is a stretch in my opinion. There may be pockets of it, but I just cant see a way where digital images captured of emepheral street work becomes a true analog for archiving, preserving and studying fine art work or murals. Murals are studied, preserved and restored today all across europe and I dont see this being any different. Those efforts dont exist outside the confines of institutions and/or achedemia but within them. For institutions, there is a concern for the scholarly value of something and the lack of common theory, movement, or message puts that at risk. In my experience, larger institutions are uncomfortable with things they cant define.
Again, bringing the solution with the problem. People within the urban art community should work to get on the board of institutions, to help convey that urban art is a step up from movement, it has many movements within it and is a new medium entirely. This pivot in viewpoint should open the mind of academincs and boards but to influence that conversation it has to come through participation. The only other way to accomplish this is to build your own insitutions. The essay linked above suggests that the documentation digitally is a watershed moment of change but I simply done see it as it relates to the type of archival efforts needed to really protect and preserve what is happening. I realize that for afficnados its a way to apprecaite the work, long after its gone, but I just dont see that meeting the needs of academic review over time 100 years from now.
Lastly, I have been entirely unable to reconcile the removal of patrons from this effort. Considering Graffuturism and Nuart both produce events / shows I cant understand how you do either. Producing a street art event requires signficant resources. Travel, Lodging, Supplies, Per Dium, Lifts, Staff, Etc Etc. Producing shows not only requires money but it requires collector partipation to the tune of thousands if not tens of thousands of dollars. Unless you guys know something I dont about the resources required to produce these events and the investment required by buyers to make shows a success I cant imagine how the statement that money is immeterial and patrons are obsolete holds water. If collectors and patrons like myself remove our money from this effort, how do you suggest the effort survives? Maybe I am misunderstanding your statements, but I think suggesting that this movement can thrive without patron involvement is disingenuous and frankly, if fueled with enough whisky could be considered offensive.
In addition to this point, which I want to expand on their are 2 others.
1. After reading the essay linked above, it reiterated a point that I touched on prior. "Street art, c. 2010, is a paradigm of hybridity in global visual culture, a post-postmodern genre being defined more by real-time practice than by any sense of unified theory, movement, or message."
2. That the role of patrons or rather the role of money is still vital to this work.
First the point of governments and building owners being a single point of failure on the supply side of the equation. While I agree that street art existed prior and was prolific, its only since sanctioned murals came about that these epic, multi-day (if not weeks) pieces, like the recent 70 foot x 70 foot murals in West Palm Beach but Tristan Eaton or any of the 100 foot plus pieces by ETAM cru came into being. Its rare that a piece of this scale can be pulled off without the approval of the owner and or the government. Street art festivals would cease to exist as they cant occur without the support of both. If you remove this approval by these stakehodlers then urban art goes back to smaller, outlaw works that while still impactful and key to the culture would be a drastic downshift on impact. Its a foregone conclusion to me that the governments are one "big hairy dick" or unpopular political statement away from putting their foot down and building owners are one lawsuit / liability concern away from the same situation.
I'm a big fan of bringing the solution, not the problem, so I suggest that patrons work on buying up buildings and getting on city planning boards to protect the art. I'm a big fan of being a virus, vs trying to fight a system from outside itself. Tony Goldman who produced Wynwood Walls took that approach and due to that he created enough gravity that the city would be hard pressed to curtail his efforts. Without this sort of control of the space the community is at the whim of stakeholders that have conflicts.
Secondly the lack of common theory, movement, or message. This presuposes that urban art will not be able to fully develop the archival and scolastics functions that museums currently provide. Assuming the crumbling of institutions under the weight of crowd documentation is a stretch in my opinion. There may be pockets of it, but I just cant see a way where digital images captured of emepheral street work becomes a true analog for archiving, preserving and studying fine art work or murals. Murals are studied, preserved and restored today all across europe and I dont see this being any different. Those efforts dont exist outside the confines of institutions and/or achedemia but within them. For institutions, there is a concern for the scholarly value of something and the lack of common theory, movement, or message puts that at risk. In my experience, larger institutions are uncomfortable with things they cant define.
Again, bringing the solution with the problem. People within the urban art community should work to get on the board of institutions, to help convey that urban art is a step up from movement, it has many movements within it and is a new medium entirely. This pivot in viewpoint should open the mind of academincs and boards but to influence that conversation it has to come through participation. The only other way to accomplish this is to build your own insitutions. The essay linked above suggests that the documentation digitally is a watershed moment of change but I simply done see it as it relates to the type of archival efforts needed to really protect and preserve what is happening. I realize that for afficnados its a way to apprecaite the work, long after its gone, but I just dont see that meeting the needs of academic review over time 100 years from now.
Lastly, I have been entirely unable to reconcile the removal of patrons from this effort. Considering Graffuturism and Nuart both produce events / shows I cant understand how you do either. Producing a street art event requires signficant resources. Travel, Lodging, Supplies, Per Dium, Lifts, Staff, Etc Etc. Producing shows not only requires money but it requires collector partipation to the tune of thousands if not tens of thousands of dollars. Unless you guys know something I dont about the resources required to produce these events and the investment required by buyers to make shows a success I cant imagine how the statement that money is immeterial and patrons are obsolete holds water. If collectors and patrons like myself remove our money from this effort, how do you suggest the effort survives? Maybe I am misunderstanding your statements, but I think suggesting that this movement can thrive without patron involvement is disingenuous and frankly, if fueled with enough whisky could be considered offensive.
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dazarino
New Member
Posts โข 854
Likes โข 508
October 2012
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Who is the next big thing?, by dazarino on Apr 2, 2014 16:38:43 GMT 1, Martin Whatson is currently at the peak of his career and it is only downhill from here. I believe that he will continue flogging a dead horse on his road to obscurity. bit harsh bob, but i do fear that martin is coming out with too much tagging pieces though, i hope he doesn't go down the pure evil route and people start to lose interest in his work
Martin Whatson is currently at the peak of his career and it is only downhill from here. I believe that he will continue flogging a dead horse on his road to obscurity. bit harsh bob, but i do fear that martin is coming out with too much tagging pieces though, i hope he doesn't go down the pure evil route and people start to lose interest in his work
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instein
New Member
Posts โข 41
Likes โข 71
November 2013
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Who is the next big thing?, by instein on Apr 2, 2014 16:51:17 GMT 1, I'm going to throw Nosego in the ring. While still relatively unknown, he has had by far the fastest progression I've seen, not to mention a style uniquely his own.
I'm going to throw Nosego in the ring. While still relatively unknown, he has had by far the fastest progression I've seen, not to mention a style uniquely his own.
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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 2, 2014 16:56:37 GMT 1, clatl.com/freshloaf/archives/2014/03/20/city-hall-wants-to-regulate-art-on-private-propertyTo my prior point that public art's longevity is at risk from government and trend. From the article The effort is being led by Councilwoman Joyce Sheperd and is similar to a measure pitched last summer - and blasted by CL - to create a public-art approval process. The policy change was proposed in reaction to controversy over Living Walls murals in Southeast Atlanta and the Pittsburgh neighborhood. Is it another loony leftie Council policy that some art might be offensive to certain ethnic or cultural groups?
Political correctness is evil.
clatl.com/freshloaf/archives/2014/03/20/city-hall-wants-to-regulate-art-on-private-propertyTo my prior point that public art's longevity is at risk from government and trend. From the article The effort is being led by Councilwoman Joyce Sheperd and is similar to a measure pitched last summer - and blasted by CL - to create a public-art approval process. The policy change was proposed in reaction to controversy over Living Walls murals in Southeast Atlanta and the Pittsburgh neighborhood. Is it another loony leftie Council policy that some art might be offensive to certain ethnic or cultural groups?
Political correctness is evil.
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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 2, 2014 16:58:27 GMT 1, Martin Whatson is currently at the peak of his career and it is only downhill from here. I believe that he will continue flogging a dead horse on his road to obscurity. bit harsh bob, but i do fear that martin is coming out with too much tagging pieces though, i hope he doesn't go down the pure evil route and people start to lose interest in his work For hardcore collectors of urban art Whatson can come accross that way but for joe public and the mainstream.
He is one artist whose style is recognisable and I think has a good future.
Martin Whatson is currently at the peak of his career and it is only downhill from here. I believe that he will continue flogging a dead horse on his road to obscurity. bit harsh bob, but i do fear that martin is coming out with too much tagging pieces though, i hope he doesn't go down the pure evil route and people start to lose interest in his work For hardcore collectors of urban art Whatson can come accross that way but for joe public and the mainstream.
He is one artist whose style is recognisable and I think has a good future.
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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 2, 2014 17:00:07 GMT 1, I agree, but they are no less of a reality because they are evil. The only way to preserve the culture is to own the property and have influence within the governmnet either directly through participation or indirectly through proxy.
I agree, but they are no less of a reality because they are evil. The only way to preserve the culture is to own the property and have influence within the governmnet either directly through participation or indirectly through proxy.
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dazarino
New Member
Posts โข 854
Likes โข 508
October 2012
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Who is the next big thing?, by dazarino on Apr 2, 2014 17:10:52 GMT 1, ploppi your probably right, and i hope so as i think he is a nice guy and talented as well. Sometimes though if he offered different style pieces, that would make his tagging work more desirable?
ploppi your probably right, and i hope so as i think he is a nice guy and talented as well. Sometimes though if he offered different style pieces, that would make his tagging work more desirable?
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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 2, 2014 17:18:16 GMT 1, Lol if you think big money men care about street art. They have one guy that achieves major auction results ( banksy). Contemporary yes, urban not chance. I don't know if Banksy high auction prices are real or fake.
Some articles say that some of his originals have been pulled from auctions and others failed to sell and the big question is who exactly are these buyers of his art for record prices?
The way the art world is today it wouldn't surprise me if even some of the high auction prices are nothing more than hype.
Yes big money men do care about anything they can make a profit from.
Art to them is just another product.
The rumours about team Hirst being behind Banksy's success and high prices won't be a surprise if they turn out to be true.
There is now way he could have acheieved it without a a lot of media publicity and that takes serious money and contacts.
His art is very clever and does make some strong social comment which make people think but does that make it worth a lot of money?
Street art is a good way of artists showing their talent by painting on walls and now anyone with a spray can and or stencil can wack an image on a wall and post it on Facebook or Twitter etc and produce a screen print to sell.
Thats a good thing for any artist.
but to me it looks like with all the Warhol re hashes and famous images re made via stencil or paintbrush etc it appeals to the mainstream because they recognise the images which were famous years before most street artists were born.
Apart from that it's beginning to look like todays street art is the new kitch.
If the next big thing is some guy who paints "chorizo" in big letters then rich buyers are being taken for idiots by people behind todays art and there again they aint complaining because they buy the name not the actual art and they want to rub shoulders with the other rich buyers and rich dealers and toffy nosed auction house toffs.
The next big thing will be the next big name and thats all it is today.
They sell the name.
Lol if you think big money men care about street art. They have one guy that achieves major auction results ( banksy). Contemporary yes, urban not chance. I don't know if Banksy high auction prices are real or fake.
Some articles say that some of his originals have been pulled from auctions and others failed to sell and the big question is who exactly are these buyers of his art for record prices?
The way the art world is today it wouldn't surprise me if even some of the high auction prices are nothing more than hype.
Yes big money men do care about anything they can make a profit from.
Art to them is just another product.
The rumours about team Hirst being behind Banksy's success and high prices won't be a surprise if they turn out to be true.
There is now way he could have acheieved it without a a lot of media publicity and that takes serious money and contacts.
His art is very clever and does make some strong social comment which make people think but does that make it worth a lot of money?
Street art is a good way of artists showing their talent by painting on walls and now anyone with a spray can and or stencil can wack an image on a wall and post it on Facebook or Twitter etc and produce a screen print to sell.
Thats a good thing for any artist.
but to me it looks like with all the Warhol re hashes and famous images re made via stencil or paintbrush etc it appeals to the mainstream because they recognise the images which were famous years before most street artists were born.
Apart from that it's beginning to look like todays street art is the new kitch.
If the next big thing is some guy who paints "chorizo" in big letters then rich buyers are being taken for idiots by people behind todays art and there again they aint complaining because they buy the name not the actual art and they want to rub shoulders with the other rich buyers and rich dealers and toffy nosed auction house toffs.
The next big thing will be the next big name and thats all it is today.
They sell the name.
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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 2, 2014 17:21:53 GMT 1, ploppi your probably right, and i hope so as i think he is a nice guy and talented as well. Sometimes though if he offered different style pieces, that would make his tagging work more desirable? I think he is like a lot of artists that when you get working on a particular style. To change style you need to step away from art and change your thought process and concentrate on the other style.
Maybe he enjoys this style for now and it's cool so far.
I make art in different mediums and styles but get the impression it confuses buyers and puts them off.
ploppi your probably right, and i hope so as i think he is a nice guy and talented as well. Sometimes though if he offered different style pieces, that would make his tagging work more desirable? I think he is like a lot of artists that when you get working on a particular style. To change style you need to step away from art and change your thought process and concentrate on the other style.
Maybe he enjoys this style for now and it's cool so far.
I make art in different mediums and styles but get the impression it confuses buyers and puts them off.
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lee3
New Member
Posts โข 832
Likes โข 1,290
November 2009
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Who is the next big thing?, by lee3 on Apr 2, 2014 17:24:05 GMT 1, >>>Picasso and other artists prices rose steadily and slowly over the years and soared after their death.<<<
One cannot dismiss the meteoric price rise of Picasso's work during his lifetime. He was the rare recognized talent celebrated the world over in his day. His work cost thousands even back in the 30s and the standout works were commanding 10s of thousands in the late 40s/early 50s with a few at 100k+ towards the end of that decade. He became wealthier during his life than any artist before him. Certainly not by today's standards but he did pave the way. I'm not so sure that rich men and women are to blame for speculating on the arts and bastardizing a pursuit that those among us aged 60+ would argue was far more pure just 20 years ago.
In my eyes, that blame rests with all of us and our willingness to go along with elected officials and central banks who are printing cash faster than ever. The wealth divide grows as a result and we blame the rich who are benefiting from those policies (while influencing them too) and turning seemingly every pursuit into one of a chase of money. The banks simply didn't operate like that during Picasso's lifetime or he too would have amassed far more in hindsight. The games at auction, all of the other crap we lament are going to get worse as there is no end in site to aforementioned policies. I wonder if we're living in the so-called good old days right now and laugh when I consider what this means for the artists of tomorrow. I can picture the old story of a 23 year old Lucien Smith seeming tame in 10 years time to the prices of a then 12 year old artist that's the next big thing.
>>>Picasso and other artists prices rose steadily and slowly over the years and soared after their death.<<<
One cannot dismiss the meteoric price rise of Picasso's work during his lifetime. He was the rare recognized talent celebrated the world over in his day. His work cost thousands even back in the 30s and the standout works were commanding 10s of thousands in the late 40s/early 50s with a few at 100k+ towards the end of that decade. He became wealthier during his life than any artist before him. Certainly not by today's standards but he did pave the way. I'm not so sure that rich men and women are to blame for speculating on the arts and bastardizing a pursuit that those among us aged 60+ would argue was far more pure just 20 years ago.
In my eyes, that blame rests with all of us and our willingness to go along with elected officials and central banks who are printing cash faster than ever. The wealth divide grows as a result and we blame the rich who are benefiting from those policies (while influencing them too) and turning seemingly every pursuit into one of a chase of money. The banks simply didn't operate like that during Picasso's lifetime or he too would have amassed far more in hindsight. The games at auction, all of the other crap we lament are going to get worse as there is no end in site to aforementioned policies. I wonder if we're living in the so-called good old days right now and laugh when I consider what this means for the artists of tomorrow. I can picture the old story of a 23 year old Lucien Smith seeming tame in 10 years time to the prices of a then 12 year old artist that's the next big thing.
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kultur
New Member
Posts โข 903
Likes โข 380
June 2010
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Who is the next big thing?, by kultur on Apr 2, 2014 17:36:22 GMT 1, bit harsh bob, but i do fear that martin is coming out with too much tagging pieces though, i hope he doesn't go down the pure evil route and people start to lose interest in his work For hardcore collectors of urban art Whatson can come accross that way but for joe public and the mainstream.
He is one artist whose style is recognisable and I think has a good future.
Yes his style is very recognizable
bit harsh bob, but i do fear that martin is coming out with too much tagging pieces though, i hope he doesn't go down the pure evil route and people start to lose interest in his work For hardcore collectors of urban art Whatson can come accross that way but for joe public and the mainstream.
He is one artist whose style is recognisable and I think has a good future.
Yes his style is very recognizable
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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 2, 2014 17:37:11 GMT 1, Ploppi said but to me it looks like with all the Warhol re hashes and famous images re made via stencil or paintbrush etc it appeals to the mainstream because they recognise the images which were famous years before most street artists were born.
lets not forget a high percentage of warhols work were rehashes of already famous images/recognisable images, he was the master of using images viewers have an instant recognition of, but i agree its being overused in recent times. I'll prob get shot down but its just personal taste, 2 banksy images i'd prob go for last for the wall to enjoy would be soupcans and kate, i dont dislike them theres just so many images i like more.
Ploppi said but to me it looks like with all the Warhol re hashes and famous images re made via stencil or paintbrush etc it appeals to the mainstream because they recognise the images which were famous years before most street artists were born.
lets not forget a high percentage of warhols work were rehashes of already famous images/recognisable images, he was the master of using images viewers have an instant recognition of, but i agree its being overused in recent times. I'll prob get shot down but its just personal taste, 2 banksy images i'd prob go for last for the wall to enjoy would be soupcans and kate, i dont dislike them theres just so many images i like more.
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dazarino
New Member
Posts โข 854
Likes โข 508
October 2012
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Who is the next big thing?, by dazarino on Apr 2, 2014 17:38:21 GMT 1, Toy is such a great piece
Toy is such a great piece
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gilsteph
Junior Member
Posts โข 1,434
Likes โข 300
September 2006
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Who is the next big thing?, by gilsteph on Apr 2, 2014 17:41:40 GMT 1, I think Tom French is a stunning artist. And he has a show next week in London.....still very affordable!
I think Tom French is a stunning artist. And he has a show next week in London.....still very affordable!
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dazarino
New Member
Posts โข 854
Likes โข 508
October 2012
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Who is the next big thing?, by dazarino on Apr 2, 2014 17:44:31 GMT 1, yep i picked up a tom french canvas for ยฃ350 not so long ago, really cool, you have to look closely and see the images inside the image
yep i picked up a tom french canvas for ยฃ350 not so long ago, really cool, you have to look closely and see the images inside the image
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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 2, 2014 18:00:37 GMT 1, but to me it looks like with all the Warhol re hashes and famous images re made via stencil or paintbrush etc it appeals to the mainstream because they recognise the images which were famous years before most street artists were born. lets not forget a high percentage of warhols work were rehashes of already famous images/recognisable images, he was the master of using images viewers have an instant recognition of, but i agree its being overused in recent times. I'll prob get shot down but its just personal taste, 2 banksy images i'd prob go for last for the wall to enjoy would be soupcans and kate, i dont dislike them theres just so many images i like more. I agree and Warhol was a commercial artist who did flyers for advertising etc locally.
He comes from eastern europe or his family do and to me his art was influenced by the Russian and commie propaganda posters and art which he must have seen a lot of and he cleverly used that and pop culture images at the time for his Americanised version of propaganda posters. His soup cans and cola bottles was to get publicity in 60's USA and his fifteen minutes of fame.
He wouldn't have lasted had not the people with money pushed his prices up and some who buy up all the Warhols to rumour has it manipulate the market.
Today it's a shame that people consider anything that sells for high prices as good art.
Anything can be sold by some dealers even a dead fish for millions.
The big names today tend to be plagiarists.
Chuck Connelly is an artist that rose very high in the mid 80's and was blacklisted by the big galleries and his prices crashed simply because he said what he thought and upset some big names in Hollyweird land.
His art is priced today at affordable prices and the dealers are hovering so when he dies they get their hands on everything and push his prices up again.
chuckconnelly.net/
but to me it looks like with all the Warhol re hashes and famous images re made via stencil or paintbrush etc it appeals to the mainstream because they recognise the images which were famous years before most street artists were born. lets not forget a high percentage of warhols work were rehashes of already famous images/recognisable images, he was the master of using images viewers have an instant recognition of, but i agree its being overused in recent times. I'll prob get shot down but its just personal taste, 2 banksy images i'd prob go for last for the wall to enjoy would be soupcans and kate, i dont dislike them theres just so many images i like more. I agree and Warhol was a commercial artist who did flyers for advertising etc locally.
He comes from eastern europe or his family do and to me his art was influenced by the Russian and commie propaganda posters and art which he must have seen a lot of and he cleverly used that and pop culture images at the time for his Americanised version of propaganda posters. His soup cans and cola bottles was to get publicity in 60's USA and his fifteen minutes of fame.
He wouldn't have lasted had not the people with money pushed his prices up and some who buy up all the Warhols to rumour has it manipulate the market.
Today it's a shame that people consider anything that sells for high prices as good art.
Anything can be sold by some dealers even a dead fish for millions.
The big names today tend to be plagiarists.
Chuck Connelly is an artist that rose very high in the mid 80's and was blacklisted by the big galleries and his prices crashed simply because he said what he thought and upset some big names in Hollyweird land.
His art is priced today at affordable prices and the dealers are hovering so when he dies they get their hands on everything and push his prices up again.
chuckconnelly.net/
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ericc
New Member
Posts โข 152
Likes โข 106
October 2012
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Who is the next big thing?, by ericc on Apr 2, 2014 18:25:34 GMT 1, Robert Proch had a few sold out shows@ galeri kirk, colab gallery, outsiders, openspace gallery.. I know that he sold almost every single painting in the last 5 years. Prices will rise for sure.
Robert Proch had a few sold out shows@ galeri kirk, colab gallery, outsiders, openspace gallery.. I know that he sold almost every single painting in the last 5 years. Prices will rise for sure.
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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 2, 2014 18:44:56 GMT 1, Like many of us I love the polish movement going on right now. While it does seem like a lot of the work has similar themes and palats, I think someone is going to take a step forward, and for the life of me I hope someone starts channling Beksinsky vs Mucha.
Like many of us I love the polish movement going on right now. While it does seem like a lot of the work has similar themes and palats, I think someone is going to take a step forward, and for the life of me I hope someone starts channling Beksinsky vs Mucha.
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