Is the Laborer Worth His Wage?

A couple of weeks ago Ed Vaizey, the UK Shadow Minister for Culture, published an article in the Art Newspaper entitled "Artists are apolitical, leaning to the left but embracing right-wing standards". The article asked and attempted to answer some excellent and timely questions posed by the UK's Art Fund, including "Has contemporary art sold out? Have contemporary British artists sold their soul to Mammon?"

While I disagree with Mr Vaizey in his contention that artists have a responsibility to be political in their art, I fully appreciated the honesty expressed in his statement, "The contemporary art trade is exactly that—a finely honed, global business." As implied in my previous post, it was more than evident at Art Basel Miami that art and business are intimately entwined on a global scale. Furthermore, if one watches the art auction scene, you can witness numerous performances at the Theater of Absurd Pricing.

Several months ago an associate indicated they would like to purchase one of my oil paintings, Boscastle Memories. Of course, one's ego always enjoys hearing that one's work is appreciated so I was pleased to hear this voiced. However, when I unashamedly stated the cost of the painting, the individual was rather taken back and asked me to repeat myself. I, of course, also gave them a graceful "out" of the purchase offer. This experience reaffirmed the general public has no conception of the actual material & time costs incurred by artists in the process of creating their works. Consequently, a "fair price" may appear to be astronomical to someone who isn't familiar with the realities of our profession.

Artists certainly have a responsibility to other artists to not under- or over-price one's work, but to ensure the prices established are fair and reasonable. Too often, emerging artists under-price their work, hoping that it will gain notice and they will recoup some of the monies they've invested in the work. It's not a trade secret that co-op galleries are wonderful places to pick up "steals" because many of these artists don't possess the confidence to ask a "fair" price, thinking it "too high" for their town/region/country/self. Sadly, in doing so, these artists fail to understand six words from the Gospel of Luke also apply to artisans in our day and age, "The laborer is worth his wage." (Luke 10:7)

The Emperor's New Clothes

Rudyard Kipling wisely contended, "Words are, of course, the most powerful drug used by mankind." Words can draw you in and seduce you---they are the Mata Hari of the marketing industry.

Perhaps this is one of the reasons why every profession I am aware of elects to develop its own "jargon." Language serves to act as a barrier against those who are "not amongst the chosen membership". Relatedly, one's lack of knowledge of the jargon or inappropriate use of the language will quickly alert the profession's sentinels and elitist hound dogs meant to keep outsiders at bay.

In a recent article published by the New York Times, Roberta Smith accuses the art community of leading the charge on "obtuse language." Interestingly, I forwarded the article to a dear friend who is "outside" of the art world, and many of the language usages were unfamiliar to her astute and learned ear. Truly, Ms. Smith hit a nerve, for I was unaware that "ArtSpeak" has been so cloistered that it continues to prohibit entry for even the more cultured mavens of our society.

"Symbolical Head, Illustrating the Natural Language of the Faculties."
(Image from Wells, Samuel. How to Read Character. New York: Wells Publishing, 1870. p.36.)

I couldn't help but reflect on my experience at Art Basel Miami---the monstrously proportioned and equally prestigious art fair, with more than 20 fairs that piggybacked on the main event held at the Miami Convention Center. The fair is billed as "the most important art show in the United States." Collectors, artists, VIPs and gallery owners are aware that this is the place to view and sell contemporary and modern art -- works whose intent and meanings are seemingly secret, posed in riddles, and decipherable only by the cognisenti.

Most individuals attending the larger fair darted from booth to booth, exhausting themselves rather than entering into full appreciation of some of the fine art that graced the pristine white walls in the 200+ mini-galleries from all over the world. I was acutely aware that the largest percentage of attendees at the fairs were happily oblivious to what they were actually viewing--so much for the import of artistic meaning and metaphor! Indeed, ArtSpeak was heard frequently at Art Basel Miami this past December; I quickly ascertained that the word of the week was "edgy". By the end of the fair, I came to re-define "edgy" as "over-priced schlock."

More importantly, however, it appeared to me that many people who were actually buying art are more concerned with potential profits from a future sale of the piece than the craftsmanship, skill and message of the artist. As an artist, this offended me. I want my patrons to love my work---and not just buy it as a tax dodge or as another commodity in their investment portfolio. Perhaps it would have been different if the artists were present, rather than the agents and gallery owners who mastered the art of ArtSpeak , psychology and economics; I really don't know.

But I suspect individuals who purchase art as investments and have no concern with regard to the artist's process or inherent meaning of a given work are often the same individuals who would be heartily surprised to discover the reality of the Emperor's new clothes. Perhaps this is why art critics tend to write in Modern ArtSpeak?