Interpreting Culture, Part 2

As the shelf life of “new” continues to be defined by smaller and smaller time increments, how do we as arts administrators help artists to do their jobs – ask the timeless questions – in a timely fashion? I’m a big fan of John Seabrook’s 2001 book NoBrow: the Culture of Marketing and the Marketing of Culture, a series of essays that illustrate how these two phenomena work in contemporary American society. In one essay, Seabrook compares his own life to that of his father’s, noting the evolution of high-brow/low-brow distinctions are made through clothes: his father had a suit for every occasion, whereas “a Chemical Brothers T-shirt will get me further in many places than my father’s suit.”

One implication of Seabrook’s message is that in order to communicate effectively in a time when identity is defined by taste, arts organizations must realize that an artist’s message will be read in the specific context of a highly customized, consumption-driven life. People filter “high art” messages through the same lens they use to see billboards, print advertising, television commercials, product placements, movie trailers, product jingles…

What tools can we use to deliver artists’ content quickly and effectively? What role do we play in making sure their voices are heard clearly, and on time (particularly on a day like today)? How do we “buy in” to all the exciting two-way communication technology tools available to us now without “selling out”?

Online Art Communities- Sales or Support?

Interact with Other Artists / Buy & Sell Artwork Like Never Before The Vision Grove is more than an online art gallery. Here you can also get involved in a vibrant art community and interact with artists and buyers from all over the world.

It begins with the above subheading... emphasizing the community aspect of the site, but then the release continues to inflate the sales potential of an online gallery. Although I understand the that the E.D. is directing his business to attract people interested in sales, the mission on his website seems to suggest the opposite:

From the press release: "The reasoning behind using art communities is fairly obvious: absolutely no pressure, gorgeous original art for sale, and instant connections with top-quality buyers and sellers."

From "Our Philosophy," it doesn't mention the sales opportunities once... It references an idea of growth.

I think this person is making the mistake of focusing on sales. The sales will happen through networking... but I doubt online. Art is about a tranformative experience. I cannot fathom the idea of buying a piece of art without having it in front of my face. Moreover, lots of artists like to establish relationships with the people they sell to, and vice versa. Art enthusiasts bask in a glory of superstarness when they can say they "know" the artist. Will this be accomplished over a web portal? I doubt it.

The website is sophisticated and clean... a rendition of a visual artist MySpace. The E.D. should generate enthusiasm about the aspect of networking and community and let the sales happen on their own. Web art communities are great and I think tech-saavy artists would really embrace this type of support. If it develops organically and with integrity, website advertisers will find their niche as it's represented on the site- not as it's projected.

What other web art communities are out there? Could we do something like this locally, with each arts agency acting as a host... beyond artist rosters?Š