painters TUBES magazine. Read Free new issue 12


painters TUBES magazine - new issue out now.


above: Turner Prize winner, Martin Creed. ‘A rolled up piece of A4 Paper.’

Someone once said that the twentieth century was when Marketing triumphed over Art, especially

in lifting or exaggerating the bottom line of its actual artistic worth. And it is true that our society has

created a specialist anti-art playing field, significantly when the words Contemporary Art are tagged

after any specific artists work. That word ‘contemporary’ has ceased to be associated with its real

definition and now it is used to identify an Art which sees itself as special or separate from the rest

of Art, one that is perhaps is created outside of Contemporary Arts strict limitations of the accepted

artists process. I am referring to painting or any other creative output that may employ what many

term, with a smirk on their faces, ‘traditional’ or old mediums.

The practice of these ‘Contemporary’ Artists is very much intertwined with the curators of large

institutions and/or the professional high profile art galleries. So much so that now it is not uncommon

for the Galleries representing the Artist to contribute large sums of money to ‘help’ the Art institution

mount exhibitions, apparently, or so I am told.

Personally, I think that ‘deal’, should it be true, is very worrying. Many critical voices envisage the

larger Art Galleries using this system as a sort of ‘back-hander’ to ensure any specific artist gains

an immediate international reputation, merely because the work will be exhibited in one of the world

renown Art institutions and not because the Art is an authentic or an absolute wonderful work of Art.

This inevitably follows with the subsequent financial gain, a gain that is guaranteed for the galley or

the artists representative, even before the Art is actually made available within the public realm.

The other worrying trend is the myopic habits of the institutions themselves when selecting Art.

It does seem that ‘only objects’ that can be mass produced are considered for exhibition.

A contradiction of the very meaning of a ‘Work of Art’ - I think, don’t you?

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