Since my exhibition for the final part of my studies, I have become interested in researching the potential market for my work, figuring out how to implement strategies, and building a strong network. Up to now, whilst studying it does seem that I have been aspiring to become part of ‘the art world’: I worked on my skills and education to show commitment to my practice, I shared my work online and exhibited in public spaces where I placed a monetary value on the works exhibited. I viewed myself as working on my practice and developing myself to ‘go out into the art market’, to continue to make ‘things’ that the ‘art market’ will like and utilise. I am asking myself about the ‘value‘ of my output/work, does it have value and if how to validate that. How will I continue making and working as an artist, when I look at an artmaket which I consider to be controlled by patronage and the power of money, I feel quite confused and uncomfortable by this idea to become part of it. I need to ask myself if I will be creating or producing or do I want to see myself researching this space?

In an article on the ARTREVIEW website I gained insight into current ideas around the ‘art market’ which I share below. I consider that we have power in ideas as well as production of artwork and the money/production/capital at play in this market. Ideas around decolonising privilege is taking forefront in this current market. I do like to think that the role of artists writing about art and art activism has also become part of this power axis within the market. I would say there became space for the artist as maker and researcher.


ART MARKET ARTPOWER AXiS
collector
philanthropist
patrons
funder
patron
sponsor
theorists
art fairs, galleries, auctions

I have learned and benefited so much from a small student artist group I joined almost a year ago. I think I have learned that we seek one another out because we like the collective means the group provides. We have agency over our work, and we influence each other’s practices as we develop our own ideas around practice and how we want to function in the bigger art market. I enjoy the sense of ‘self’ within the group and see the potential for the collective potential. I started to wonder if there is any possibility of exploring collective practices to interact with the ‘market’, which to me feels privileged, closed and individualistic. I ask myself about this ‘space’ – which will have a virtual side to it, as we do not all live close by and might find it difficult to showcase work together in one physical space. I do like that ideas suggest as sharing ‘power’, interdependency and resilience can be fostered amongst the collective.

I do think one should be weary of challenges such as maintaining cohesion amidst differing visions and securing consistent funding. However, strong communication and shared goals should help overcome these hurdles. As artists this will not only enhance my own practice but will contribute to reshaping the broader art landscape, encouraging collaboration and innovation.

Disciplinary structures of Art History came under my attention when I listened to a podcast with Eunseong Kim, a professor at Northeastern University. Here I learned about her new book, The Politics of Collecting, Race and the Aestheticization of Property.  To her what we think of as property or what we think of aesthetic property is actually firmly rooted in an understanding of a colonial dynamic of race. She challenges our ideas of what artistic success is and advocates for a new vision of art beyond cultural institutions

We can consider

I found reading material which gave me more insight: AESTHETICS OF THE COMMONS, edited by Cornelia Sollfrank, Felix Stalder and Shusha Niederberger (Monoskop download as pdf) Here the art work is discussed as the ‘art field’.

I started looking at content, digital marketing, and coaching opportunities. ( I do have some marketing background and did a short course at a local university a few years ago) I must consider how I share my work/story and connect with the right people. I am ready to show up.

My needs are to:

  • How to understand art as work – how to place value my product (and or services?)
  • Connect with an audience who would be interested in aquiring/buying/collecting work
  • build an engaging presence on social media
  • showcase my work

INSTAGRAM FOCUS

I will focus on learning about how a marketing strategy works with IG. Learning more about the use of hasthags is on my list of things to learn. It seems it can increase engagement and drive brand awareness. Also known as the pound sign (#), the hashtag is very effective in making your content discoverable to a captive audience. Hashtags enable content to be found by the right people.  I have also understood that I should consistently add hashtags related to my materials (#WireWork, #HandmadeWire), and themes will also help build my niche audience over time.

Using an AI search brought the following forward:

Here are some hashtag suggestions tailored to your wire sculptures, sociable weaver-inspired themes, and focus on collective care and nature:

Art and Wire Sculpture Specific

  • #WireArt
  • #SculpturalArt
  • #ContemporarySculpture
  • #WireSculpture
  • #HandmadeArt
  • #SculptureInstallation
  • #ArtisticProcess
  • #FineArtSculpture

Nature and Environment Inspired

  • #NatureInspiredArt
  • #EcoArt
  • #SustainableArt
  • #BiomimicryArt
  • #NatureAndArt
  • #EcologicalArt
  • #ArtAndEnvironment

Themes of Home and Care

  • #NestAsHome
  • #SharedSpaces
  • #ArtOfCare
  • #CommunityAndCare
  • #Interconnectedness

Bird and Habitat Focused

  • #SociableWeaver
  • #BirdInspiredArt
  • #NestArt
  • #EcosystemEngineers
  • #BirdHabitat
  • #AvianArt

Broader Art Community Tags

  • #ArtistsOnInstagram
  • #ArtForChange
  • #SouthAfricanArtist
  • #NatureArtists
  • #CreativeProcess

Interactive and Immersive Art Tags

  • #ImmersiveArt
  • #InteractiveArt
  • #ParticipatoryArt
  • #InstallationArt

https://www.artsy.net/article/artsy-editorial-from-castelli-to-gagosian-what-s-behind-an-art-gallery-s-success

Art Review, 04/12/2024. The arty types who shaped 2024 read online at: https://artreview.com/the-arty-types-who-shaped-2024

https://www.on-curating.org/files/oc/dateiverwaltung/issue-34/PDF_to_Download/Oncurating_Decolonizing_Issue35.pdf

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