To help us break it all down, artnet News spoke to Cristin Tierney of Cristin Tierney Gallery about the major considerations she takes into account when determining the price of each and every work that passes through her establishment.
“From the outside looking in, it’s kind of byzantine,” she told artnet News. “We all do this all the time and we think about it all the time, but articulating it is tricky.”
Even though it’s not an exact science, figuring out how to appropriately price a work of art is actually fairly straightforward process.
1. Don’t draw attention to yourself in a negative way.
German bad boy artist Albert Oehlen was part of the infamous Hetzler boys, an all-male group of artists that showed with the Cologne dealer Max Hetzler. The group engaged in what the painter called “Extreme artist behavior.” He told Art In America, “We made asses of ourselves and made everyone hate use. We climbed on tables and pulled down our pants.” Whilst it hasn’t hurt Oehlen’s career, you should probably try to emulate his art not his antics.
And while it makes sense to build your Instagram presence around what you already know, the art world can make this difficult. Plenty of museums and exhibitions outlaw photographs; gallery visitors often see photography as an interruption. Virtually any article on the topic collects complaints in the comment section. Taking photographs with art is frivolous, vacuous, a revelation of deep-seated narcissism (which, of course, disproportionately affects the youth of today).
“There’s a perception that looking at art through a lens is a vapid form of consumption, or that people don’t actually enjoy the work because they’re too busy photographing it,” says Elena Soboleva, curator of special projects at Artsy.net. “But I would point to the Broad Museum in LA as a counterargument. The institution has seen an unprecedented number of millennial visitors, who are lining up around the block. It’s the first time any institution in that area has had that kind of engagement, and people wonder why. People see their friends posting photos, whether it’s a Jeff Koons or Yayoi Kusama’s Infinity Room, and they want to have that experience and participate in it.”
A dedication ceremony is set for Tuesday for the new Mexican Museum – the realization of a dream by Mexican American artist Peter Rodriguez, who opened the city’s first museum for Latino art in a Mission District storefront in 1975.
Rodriguez started a collection that now has more than 16,000 pre-Columbian, colonial and contemporary works of Mexican and Latino art.
The gap in gender equality ranges from the not-so-subtle dominance of male artists at gallery and museum shows to the outright misogyny of an artist like Georg Baselitz, who has openly stated, “it’s a fact that very few of them succeed,” when referring to female artists. Amid much-hyped headlines about works that have broken the $100-million mark at auction—10 artworks to date—not a single one is by a female artist.
“Unfortunately, there is no gender equity anywhere right now—and the art world is no exception,” said Janice Sands, executive director of Pen and Brush, a nonprofit space started in 1893 that offers female writers and artists a space to create and show their work. “Many young women artists who are going out there and really trying to make a living at this may not be thinking about gender at all,” said Sands. “They are thinking about whether they can find a gallery to show their art, get representation, sell their work.”
With this often discouraging contemporary art world backdrop in mind, we sought the advice—and inspiration—of a group of established female artists to see what crucial wisdom and tips they would impart to the next generation.
Each photo taken in the app is actually a one-second "moment" -- touch the image or give your phone a swing, and the image comes to life, revealing the motion. You can share your moving photos within the Polaroid Swing app, or externally on Facebook and Twitter.
Those of us who like Twitter also know how hard it is. You need the focus of a poet to get 140 characters to say something expressive and consequential. We don’t like to call it doing art. Maybe there’s something too twee about that. But we still are doing something that conforms to the rituals and patterns of making art.
Nowadays, artists’s studios are large-scale operations that often employing scores of assistants to help produce large-scale works of art.
The use of multiple assistants dates back to the Renaissance era, where large-scale projects were relatively common. Michelangelo had assistants to help him paint backgrounds on the ceiling of the Sistine Chapel in the Vatican between 1508 and 1512, and artists such as Peter Paul Rubens and Rembrandt did the same.
That doesn’t mean that all artists use assistants all the time; but it’s far from uncommon.
It was Andy Warhol and his unabashed “factory” approach to creating art on a mass scale in the 1960s and ’70s that influenced the acceptance of the transition from light participation of assistants to full-scale creation of work with no or little input from the artist.
And today artists such as Takashi Murakami, Damien Hirst, and Marilyn Minter employ large-scale studios in which numerous assistants produce artworks in a fashion that is not dissimilar to a production line. Koons himself admits to employing a staff of 150, saying, “If I had to be doing this myself, I wouldn’t even be able to finish one painting a year,” he told the Wall Street Journal.
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Solomon has been awarded for his work in both fine art and photography and, his work can be found displayed on various online art and photo galleries.
- Museum of Digital Fine ArtsCEO, presentThe Founder and Principle of the Museum of Digital Fine Arts, which spotlight and showcases established and emerging artists and photographers along with their incredible work in monthly exhibitions. Solomon's duties encompass management, curating, marketing, writing, social media, talent search, and much more.
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