Whether it is right or wrong, a stereotypical view of the world of ‘Art’, is one that is shrouded by an underlying feeling of snobbery. Filmmaker Katherine Bernard addressed the often competitive and exhausting nature of working within an art gallery in her short movie ‘Crush’.
But where does this this feeling of snobbery or social exclusion from art derive from? Some suggest it is often due to the high price tags that can come attached to any beautiful piece of work. Those who cannot afford it often do not even partake in browsing galleries for art, knowing that they would not have enough money to purchase anything they liked. Because of this, a vicious circle of social exclusion has become the norm in the art world. Online art blogger ‘Art Book Guy’ posted about this state of affairs, noting how this attitude is forever decreasing the target market of buyers in art, ensuring prices of work at galleries will constantly creep higher in order to cover costs to stay afloat. With this continuing, the gap between those who are ‘in’ the world of art and those who are ‘out’ will only continue to widen. Does the art industry have to be this way? Is there a realistic future of original art in retail if this level of social inequality continues to be a running theme within the industry?
Art as Social Status
Historically, art was commissioned by the ruling class in order to show social status. This was especially prevalent during the time of the British Empire, where full length portraits were painted of people with important roles to celebrate their power. The subjects of the painting wore grand costumes and assumed powerful stances to add to the overall effect of dominance. Not only were portraits useful in re-enforcing the ruling image of Britain during these times, but emotion fuelled battle scenes were also commissioned throughout this era. An exhibition entitled ‘Artist and Empire’ ran at Tate Britain last month, bringing these culturally prevalent pieces back to light.
(Image – Rule Britannia … Edward Armitage’s Retribution, 1858. Photograph: Leeds Museums and Galleries – source http://www.theguardian.com/artanddesign/2015/nov/23/artist-and-empire-review-tate-britain)
Dating back for centuries then, art was not accessible by those without a high place in society. With art having such a deep-rooted history with use for almost propaganda like purposes to define class and power, it comes as no surprise that the industry has become awash with the stereotype it has.
Even in today’s world, without the Empire or prominence of the Monarchy or the ruling class, there are still barriers in place in the world of art.
What is considered to be Acceptable ‘art’?
Rather than that of obvious power or wealth, it is the question of what art itself is that divides those who are ‘in’ the art world and those who are not.
In 2009, Bristol City council allowed the cities public to vote before murals on buildings and walls across the city were painted over. This move came following on from the huge success of an exhibition entitled ‘Bansky v Bristol Museum’, featuring the work of the famous street artist. Regardless of the how popular the exhibition proved to be (It ran for 12
weeks and had around 4,000 visitors a day, over 315,000 in total) the fact that the art in the exhibition and in the murals was considered ‘street’ art, rather than fine painting or similar meant that the move to keep the city adorned in the urban art was not popular amongst the conventional art world.
Art Critic Brian Sewell commented, “The two words ‘graffiti’ and ‘art’ should never be put together…the public doesn’t know good from bad… It doesn’t matter if they [the public] like it. It will result in a proliferation of entirely random decoration, for want of a better word.” (Source http://www.theguardian.com/artanddesign/2009/aug/31/graffiti-art-bristol-public-vote)
This reaction from a representative of the fine art world further suggests a different route to the theme of social inequality that lies in the underbelly of the world of art. If this medium was not ‘street’ art, with urban and working class roots, would the acceptance of the art form still result in ‘entirely random decoration’? Or would it be considered ground breaking?
Traditional Gallery Space
For the art world to exist as a trade, gallery spaces are the retail environment where creatives can sell their work and collectors can find their new favourite piece. As discussed earlier however, these spaces in themselves can in fact deter potential buyers and block new artists from ever truly entering the ‘real’ world of art, unless they possess large amounts of money or connections within the trade.
With such a small stream of viable buyers of art, many galleries and artists price their pieces appropriately, in order to keep their businesses afloat upon a sale. It seems to be a vicious circle, and the world created by the art industry itself has made it difficult to operate otherwise.
Online Art Galleries Bridging the Gap
The future however looks set to gradually change the nature of who can or can’t create, buy or appreciate art, thanks to the development of online art gallery platforms. The internet and a birth of peer to peer culture has had a huge part to play in bridging many social barriers that exist in convential society, and it has extended to the world of art.
A recent report by art insurance company Hiscox revealed the boom of the online art trade, and the changing trends and consumer habits that have come with it. 69% of those surveyed were spending less than £10,000 per year, with approximately half of that spending less than £1,000. With these virtual art gallery communities, artists can sell their work online for a price that is true to its value, yet is accessible by more.
Making the move to buy art online means that the value of an artist’s work is defined by its popularity with the customers, rather than what is accepted by unspoken rules. With this format, buying and selling art can become accessible by anyone who desires, with no barriers.
So is there social inequality in the world of art? Perhaps traditionally there was, however the future looks set to make acquiring original and unique artwork an achievable feat for anyone, regardless of social status!
