Currid argues that success in the art world is essentially founded on social networking. The value of an artwork is determined by the endorsement of the most well connected voice, or ‘gatekeeper’(1). Professor Warren Brookbanks has termed the phenomenon of success through social status a ‘who-you-knowcracy’(2) meaning merit is given to an individual based primarily on who-they-know rather than attribution of skill.
An explicit illustration of the intricately established social hierarchies underpinning the art world is seen in “The Art Universe,” published in Vanity Fair magazine, 2006. “The Art Universe” is a complex map of the contemporary art world as observed ‘from the V.F. Observatory High Atop Times Square’(3). It is the whose-who of the who-you-knowcracy. Replete with solar systems and constellations, Larry Gagosian is affixed firmly in the ‘center of the universe.’ In ‘the heavens’ is a list of deified dignitaries, names that have attained god-like status in the art world including Basquait, Duchamp, Pollock,Warhol etc.
The inclusion of a highly commercial synopsis of the art world within one of the worlds ‘sexiest’ magazines, suggests that art, as we know it, has all but lost its physicality in the making of artifact. The witty observation of Vanity Fair to categorize art giants in such a playful yet cynical way bespeaks of an even more ironic hierarchy. Vanity Fair is so in-the-know it is able to observe and organize the elite of the art world ‘who-you-knowers’. Vanity Fair has effectively become the eye of God, viewing the universe from an objective distance whilst ingratiating its star players. An art world commercially driven becomes increasingly aligned with the world of advertising and branding. Art as pure commodity crosses a fundamental boundary questioning the integrity of its own ontology once again begging the question…what is art?
1 - Elizabeth Currid, “The Economics of a Good Party: Social Mechanisms and the Legitimization of Art/Culture”, Journal of Economics and Finance, vol. 31, no.2, Fall 2007, pp.386-394.
2 - Prof Warren John Brookbanks, Auckland University Law School. 5/06/09.
3 - “The Art Universe,” in Vanity Fair. December 2006, pp. 340-341.
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I understand the who-you-know theory and I've know doubt it operates on all levels of the professional art world, however I would like to point out that this construct is not always as illogical or calculated as it may seem.
ReplyDeleteVisibility is key. There are hundreds of thousands of artists/art students out there making interesting work and perhaps 1% will surface. That 1% make themselves visible or known to the "gatekeepers" because they are motivated to do so. I like to think merit is given to an individual based on their visibility in addition to their skill, rather than unintelligent nepotism.