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You probably know about the struggles of starving artists who are waiting for their big break. They have poured so much time, energy and emotion into their art. Sometimes in a proverbial fit of madness, they are displeased with their work and destroy it in the quest to seek perfection.
Then they drive their friends and family crazy about how they have left life’s common struggles to work on their masterpiece.
At the opposite end of the spectrum are the “artworks” that are generated in a mass market fashion, with some market research on the part of the “artist” as to “what sells.” Some of them even cunningly resort to the latest artificial intelligence (AI) rendering tools to increase their output, so they can sell as much as possible to their buyers.
Most people will not consider these “artists” as real, and their work as “art.” When something seems too market-driven, we often call it “over-commercialized.” Think of Disney trying to pass off the 1,000th iteration of Marvel or Star Wars (just kidding) as something new.
Then there are those whose main purpose for their art is to simply create a reaction, whether positive or negative. Banksy, for example, creates art that is more known for the way it appears and disappears, without necessarily taking away from the merits of his/her work. The “artwork” of a banana taped to a wall may be art to a few, but not to many.
That is why sometimes someone new comes along who is not really trying hard to sell, but then knocks it off the park. Admittedly though, it is partly luck that two identical artworks, both of which can be technically good, sometimes result in only one that becomes successful.
Again, there are those who are in art for art’s sake, but there are also those who want to make money (or at least a living) off their works. Each artist is probably in that spectrum, with the purists at one end, and the “sellouts” on the other. There is no wrong or right place to be in; there is only what is right for that artist.
The Rolling Stone Culture Council is an invitation-only community for Influencers, Innovators and Creatives. Do I qualify?
Admittedly, we all belong to some sort of tribe. Some tribes are affluent and look for art that reinforces their notions of beauty. Some tribes are fueled by youthful rebellion, and the art they want is not necessarily classically beautiful, but the anger and angst the art they want represents the emotions they feel.
When I say that artists can and do adapt to their markets, it is not just about being commercial. Artists need to sell some of their works, but it is also about appealing and belonging to the tribes they want to belong to. An artist who wants to get auctioned at Sotheby’s or Christie’s has to meet the tastes of art critics, connoisseurs, and museum directors. But an artist who is driven by rage and anger will probably be anti-establishment. To that artist, “not belonging” is what makes his/her art “commercial” to the tribe being appealed to.
We see something in the art we buy; that’s why we like it. We respond to nice musical rhythms and harmonies. We respond to emotions that looking at a painting creates in us. Or there is something in the artist’s life that creates resonance for us. It can be one or several of these reasons. Having a well-known benefactor or mentor who talks or endorses our work certainly does not hurt.
If you plan to make art a livelihood and not just a hobby or a passion, it would help to consult with experienced business people and entrepreneurs. Perhaps you can set up, or join a collective of artists, in a business venture such as a small corporation or non-profit. Ideally, you should have an accountant at the start, especially if your works are selling fast and you are not comfortable with the accounting side of running a business.
It is not true that thinking about what sells can hurt our art instincts. It will only hurt us if we let it. We can create some artworks that sell, and some that are only for us.
We have to create great works of art, but we also have to eat. There is no dissonance in having both.
