Carol Duncan Who Rules the Art World 1983

8/18/2019 Carol Duncan Who Rules the Art World 1983

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l��3WHO RULES T E RT WORLD?

A little over decade go, the rt press ou ced ew tr di moder p i tin , photore lism. ll of the rtists i volvedused photo r phic im es t some poi t i their work proc ss. t the time, most hi h- rt lleries wer show tot lly

bstr ct or co ceptu l works It w s therefore st rtl g to seework th t thrust �po us highly resolved im es of the mode world. O e work i p rticul r c u ht my tte tio It depicted f mily of four o Florid e ch. The roup looked

like the ki d of llAmeric f milies i co tempor ry Woder Bre d ds, except th t the im e h d the feel ofposeds pshot i wh h everyo self-co sciously tried to looktheir role s mem er of h ppy, fu lovi f mily T us thef ther Dick Ni o look like ri s too much s he pl yswith his so 's toy c r, while his wif overi dic tes her museme t. The ork s cool; d t ch d surf ce, cle -ed ed fo ms,

d ri ht colors m i ed th empt ess o the f mily clich

t � the es ct out" A couple of ye rs l ter,w s i troduced to th r isttold him how much I liked his work. He w s of co rse,ple sed Them de the mist ke of s yi more someth

bout h s de dp w y of prese t such u comfort bleim e. he mome t me tio ed the e, he h d H sp i ti , he i si ted, w s ot bo t th clich of the f mily

or ythi else i the im: e It w s olely bout thep i ted surf ce s rr: em t of color d formHehimself S tot lly i di ere t to the co te t of the photoshe used for his p i ti s d selected them o ly o the siof th ir color compositio . I other words his work w se clusively out rt rt s it w s the de ed by the

This essay was rs pub i ht'd in 13 ( ly-Aug s 19R3).


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A P reater argi of per o al freedo nd experime tatio th nt

I rJ r t b om vi ible i is wor ld. a �rti t 1lu k work t ; i o w ay addre se the hig - rt COI

m unit or so s en o it I of co se. ss i 3nrt 001 or art dep rt e t tr i d individu l o eo e

who s o i of rtistic l bor s r dy been sh p d wi hl ori nt tio tow rd the high- r t m rket There rc. i the

N w Yor k re lone . t o s nds of such people- painters .sc ptor . ph t r pher . pri 1akers rt perfor er dot er - o eti wi h e c ot er o be ome vi ible in th i

rke . T ere r mny mo re w o live el ewh ere ofteni i ver ity own w ere t ey tea rt or r marr ied to ho e w ea Together ll of the people m ke hundredf tho J f work s th t are intelligible art to only � l o y r ri i d ' lers nd tor Thi l t of

3rt : I1d r i ts i th e n r a l c on dit ion o f th e art m ark 't.

rti t k work but t y do ot h ve the power toke their work vi ible s rt in the hi h rt world Their

work beco 1 hi h art wh n omeone with ut ority in th twor reat it rt T i h ppen in e enti lly three w y

he work i exhibited i igh rt pa e. it is noti ed in hehigh-ar pr s or it i purc ed by high rt ollector T emo t plendid de o tra ion th t the high- rt wor d v lue

n rti s work is w en n impor nt useum buys hu kof it nd h ng it up for everyo e to e ut b fore thish ppe rti t u lly u olle t v lid tion ov r periodof time i he other w ys Vi ibility or lly begins whe

re ognized high- rt d ler or r tor in o e of the mu

eum th t cou in lude them in show or gi es them one-per on how of their own y doing so. the de ler demon tr te publi ly th the rtist s work h s rt qu lity for him or h r Whe de ler or cur tor exhibit work the r

t kin their profe io l judgmen s nd reput tions on it Ifthework i validated l ew re or d b yer the xhibitor

i in or eve i in v lid tin powerFinally. the work be omes high ar when riti tre t i

s u h in the high art press or in ome other p bli forumt getting riti s' tt tion let lone f vor ble tten io

fro n ble criti . doe not follow to ti ally from geting exhibi ed al hough a xhibition usu lly provide ritic

with he o a io to writ bout a rti t Mu h d pe dpo where one is exhibit d ly a h df l of i g:l erie

on ass e h t their ows will be oti ed f course

e p rso s ow i big eu the ultim te e o i

tion i ur o produ e riti l re por e ut by the ti U artists uch how . th y h3v ready a i ved sign visi i ity i arket

ood cri i s v lidate work as high art by pub ic y e tifyinth t it h s t q i y for the T y pu o words e p ri c of work identi yi g th id s d elinwork evoke i them nd de ribi g the sp i c w y

rti t produ e th t ct Critics th de on trat tha thwork ha e ra en ent ea in to th h t i giv

h pe to or i luminat some feeli v lue or tr t th t thhold to be i ni can and that it doe o in a f r se

ppropri e Th q lity o he cri ic work c b mle s te ted in the ookin ei her you e nd v e the eheor he poi to or you don t In his w y critic og twit d l r d cur rs. cr n Jrt c nt xt or woTh y s r u d t with i ti g di co e d o witphy ic l o text th t prompt its reading r

y testifyi o work s rt v lue the ritic lso u mth m rket v lu of work When h u essfu ly omnic t his own xperience of the work. he ives it me nin

nd therefor v lue in the eyes of other The criti thu helpbuild the r i t reput tio n so ives th t reput tispeci c con e n the proce s he wor bsorb v uec :edb the riti ' l or In pr cti e. hen the est eti nd th \e ono i v nt. e �

ue of thi cr tics- wh n hey re not being courted byrtis e of en looked upon wi h re entment nd r e

pe i lly open o ch rge of collu ion nd elf-intere t n

of them l o h ve iz ble rt collection ) The e ch r e often well de er ed but mo critic do not h ve he u oom ous pow er rtists ttribute t o them As w sh ll see. wha -ever pow er hey wield is ulti a ely limited by the buyer'sneeds

everthele riti i m p ys a crucial role Critici sorl bel nd me ure the worth of rti . rankin them r l tion to e h other within one of the ever-shiftin trendth t w f thro h the m rket pop ur tive b r t lyr

m. mini l neore i m con eptu l p rform np ttern p inting punk. new wave neoexpre sionism nd soon At the s e ime individual critic m ke heir own bidfor tte tion by ch mpioning or inventing one or more ofth e o en tr n t rt tre d hether or not they ike or w nt to dmit it. o profe ion l arti t r forced to

ke p n eye on the ke T ey know wh rend r cu


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A P

,th labor of artis s hro g o his ory prod tio of rtand rt od s as w ys b n on ro d by nd r d to

hen ds of hos who do on ro so i ty rin s, kingsd bishops hos w o bodied state s a y go t

r nd he artists they n d d If h ri h r is s w r oi edia y avai b , th y or eir work w r s ipp d into ersepo is the s Ro e Vers i es, or Te r n Or t en essary bor 3 rea d o y in roy s oo s r works ops Wit r re e p ions i ar ists 3v h d i l hoib t o bor for t e r in 3ss s of ir i s Ev n w en

s in o r so iety, oth r sses so s rt, t e i dividtr i d s a high rtist is h3rd p o d s rs b yo he

ing ss s for is sp i i d pro tsWe know a ot abo ow gr at p tro s of p s

o i at d t ir ds to ar is s ypi a y, osi o dM di i, Lo isX V d Napo on os y w d ir ri s nd r is s d, w n ssary dir ly i rv d

in t ir work h prin s d pop s of th naiss a sor in d dv sors " o r 3 is s or sp i e s w os �s d pro ra s for d or tiv s h s or s o ed potenti l r ta en Co ber o isX Firs Minis r of en

t d as th in 's e tiv rt s p rvisor nd lso reat d·t e oy de y and its 3r s hoo o ens re kin tq tity a d ki d of rt n ed d

o r w nt ry t ir in erv ntion of the pa ronis r r pt i r hi t wh r th r ditiona ar istp ro r l io s ip is s i l vi b W n i o es o obj tspain i gs s pt r or p o o r p y o d r atio s iph s b en o p t y r3 sfor d trons who onCO!1

nd d s h works dir tly fro t 3r is ow go o fr ark t a d y t rady- ad dr JdY- 1 e iat .Ins d of r t i i p rs nal ag ts t y ow ow art

ist ry depar nt or f s ibi ions N v rt el ss t patr n s ds r i ov ing for i igar pro ion, t o g as dia d by riti is t os

ds now 3 p r as s i y a to o o s rt i o o i sve s ressed way t e ons rai ts of art wor d

sh pe a d i it iv s of professiona r is s o y b sei is so s rro nded by ai s of fr do a d niv r

s i y e ide f r as a r of fr do a d iv rs i yis tral not only in do iH ib ra tr di io b t a soa ong f riti s of r i ion who h v ow versions of i er , r is of n giv ib r i g issio or

on iv d s o in whi id o ogy is ra s dedS id s, l ho gh b nd n in phi osop y r dif t o

d in his ori a r ity In history r rtists d ot WH Ur ist s n bs r tion h v d to s rviv wit in soRT \

r tions of rt prod ion Wit r re eptio s t y vd o work for so on nd os worki ar is s v

no si i n y rans nded it er h do i id o o io r e estab lis ed ar m od es o f t he ir im . T o se wh o di d \

• of en h d the sU 'ppOrtof n em rgi soci c asswh se v lues w re not not abl more ib r ing th n those h y wer dis-p in As for ib r ti g pow r of rt one a rgu e s e sily t r , f from b in ib r tin , tends o oppres-! Isive, ait mys i s nd dis orts th wor d in the interes s:I,of f w or, ik rit i ob j c i s socially d ero s; \imp u ses o y o ont in h m i h rm ess nd symboli

I

for . I fact ch of on n rt of t pas do s

j s is. t is is ot o s y l rt, by d nition, isoppr ssiv . My po n st r is no cos d c t gory w itin r n d xed q ii s ood or b d, lib r tin oroppr ssive

Nev r l ss, r v b e ar is s w o sig i a t y opos d th r in v s nd b i fs o t ir day owh r

his opp sitio r widespr ad han i in t nt e t rP ris t n pita of e W s ern rt rk t rtists sas Man De s, Piss rro M net V n Gog a d Sestripp d t eir work of r eive ideas a r ated w t

s oser to ir ow a i at d ife p iisol tio d pov r y t a so of es n d r ds w llknow ir sit a io was is ori al y b or l oso i i s r i pow rs k w ow to attra t orga i a d

s t b s artis i tal t ar rs of pressio nd ost I pr ssionists f ld d i a p riod of rap d a d farr ach ng ( ia s i lcha F 3nc cap lw jusi t pr ss of b o iom nan a d d ot y t ar dto re og i e its par i r n ds i rt Sti , ev n i t7osw a i t p o a t I pr ssi ists a fro t

r t ro p ! yt sit io w s re nornprogr ssiv api is s ow d rstood ow t ey o ld s

o ven io a piri of ava t g rd Fro t is pon th od rn r arke ook sh p s h ven for a i n d

pa ri d nd id is i a nt b h v n w ose frdo s wo d b i it d by th n ds of its dvent o s apita is s ppor rs rein i s str ggl of e oder

r is h e r y de des of the tw ti th n ry e eyday of v ng ardis it s ed asi r to be e syst B t

on r di ion nd biv n s wer lways therready in the eens av n ard artists ade tte pts o


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C r r o trol th m of th ir fr dom a d th f th ir' wo k T b g booby-trappi it. Th y pa t d trig o v l ar or low" art bj t i t d d to r p l h h

rt di p t j i to th ir work mad thi g that lftr t r r f d to mak obj t altog th r r f r of

o r t th or aggr v a ti-art mom t of th ava trd tot ol F t ri m, a d abov all th a ti ofd Th i rt obj t a d v t hat h d by D hamp,

M Ray K rt hw tt r , a d th G rm Dada t w r poi t dly o v d a art o a io that o ldn tr lt xp , hig -art ommoditi . D d a art for arti t

m h of it w l t r lly d troy d i th i

IB t a it t d o t, i th mod r art world to br ak thr l to follow th m Th ava t ard wa alr ady a mark twh r y bol a t of fr dom rr v r or ab rdityw r val d a d t r d to obj t of ha g From thb i i , a tago i m toward tabli h d gh art l di gy t rday av t- ard art wa a ary attr b t of thmod arti t a i of h or h r fr ovat v p r tT tr gli g agai t th r o tra t art t t ght dth k ot T r ow rvival i t r t , th r al at o frotraditio al lt r , a d all th d that mad th m arti ti th r t pla dov tail d with th mark t' app tit fort rilli g a d ymboli adv t r To th r art t ritid al r a d b y r fo d way to ommodify v art tr b llio ai t th mark t. m today w a Dada obj t or r pli a of t tio ally d troy d o r v

r tly i tall d i la a lik o ma y tra l ttl artifa t Ma y y ar aft r D da, N w York arti t wo ldr di ov r im lar trat Happ o pt al a dp rforma art wo ld r apit lat m h th am dramaR li of th mov m t too a b i th m m ,prop rly di play d a high art. Th v wh rt t havprot t d th to wh h hi h art i p t a d hav b ilt thatprot t i to th ir art, t r i t rv tio hav had o ly t mporary or l mit d t For all th ir va t d fr dom, high

Iarti t if th y ar to b vi bl a high arti t , hav l ttl hoiabo t how th r work i d; a d that b a a hi h� s s h y o hoos wh h bsst yw ll s v

o b r t otio that ava t- ard art i i h r tlyoppo it o al a ot b t r ly d mi d t w m t ro iz that art t ' tr l to o trol th m a of t rwork ar ot a la tr l b tw apitali t a d a prol tar at.H!ghart t ar mall i d p d t ma fa t r r of

l r ood For t mo t part th r tr l i ot o magai tt y t m b t for rviva with it U blto

ha -\ l th o trolli g pow r of th mark t mo t of th m to o vi th mark t of th val m a i g a d h gh of t r prod .

art t ar a o i d v d al t w o r oft alf om tabli h d high-art lt r Th ir oppo it o if otpol t al i ly f lt a d pr d a a mp l

at th id a of art it l A d it i th lt ral oppothat d mi i almo t all mod r t art l d rartmad for mark t o roll d by orporat patro a o wa or a oth almo t ll of th mov m t of m

tr am mod r m i l d g Ab tra t E pr o m Pop d lar d th m lv a a t a pt d art val E

mal art wh h dom at d th m m-gall ry tabl hm t th t a d v t b a with a ito gat t b t pra t t o r t d that th r w inth r work b yo d t lit ral form th m lv o f rmat o of t h ma t v l of Ab tra t E pr io iA ordi ly, rit ta tly iz d po th w tyl to t d it a a r at o of th d a of art t lf T y h

t l a ool form a mom t of a p ab ol t , p rf tly mpty fr (�dom rhap othi g b tt r tha Mimal do m t th o trad tio h h art t liv thn

ty mpo d by th mark t to ommod fy th p r tth '

art t mp l to.prot t thatommodi atio a df nally, th ommo at o of that mp l to prot t B twhilDada t o t to b a th y t m by ot prod i ommo

ti


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H R certa n art sts that h d no m aning or us for oth rs in the';ork of th Natural sts, a t, Cub s ,· nd AbstractExpr ss onism. They not only p ck d th w nn rs of futureart h story, th y also art culat d n w art id olog s But fh storyv nd cat d the r judgm nts, t was b caus Q antsoci l groups, old or newly arr ved, ound that art relevant

o the r ch n ng nterests, x


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wh h thei eds o d a a ot simh h a sts b t as me who d the t aV et amViet am who ow wa t to s eak of th

i nce d wh se mea s of ex essio ha e to J t s s dd ess s i

e t a to ode feTh t s h effo ts e a s ot the f

the est of s ot o y make ew dema ds ohe t ew co xts w h e s o

w modes of o t we shall h e a t we

N TE

E a Cock croft Abstra t Expressionism. W apon o fthe Cold War "Ar o um,Ju e 974 pp 39-41

.

2 f ance KP hl An Am r a V nice:Ben hahn a d Un t dt,t For g Po yt 9 4Ve eBi nna eAr Hist ryvol

4 no IS n aacke Work n di i nAr jor umm r 198pp 6-61, f r a su erb analysis ofth mpa t o forpOr t ne ds othe a t world

4. arol Du an and Alan Walla h The Museum of Moder Art Lat Capitalist RitualMarx s P p c v sWint r 1978 pp28 -51.

or a thorou h dis ussion of thisne subj cti ity a d th mod ro di io s n whi h it arises se Eli ZaretskyCa i a s h� Fa

and Pers a LIfe(New York: Ha p r olopho 1976)6 Jos rt a y Gass tT D /u an za on o ArNew York Anchor

ooks 9 ) pp 6 77 Mi h l M lot issarro A A ar histic Artist i 1 0Ma x s

P sp sWi t r 97 pp -54. R to o ioliTh Th r h A a - arran G rald itz

rald (N w York l o Editio s 1971)

9 . Q tio s to St lla and udd int i w by ru Glas rL cy Lippard i Gr ory att ock d. • M n a Ar(N w Y rku to 8 pp14 -164

0 S y r port" th Ey of th Sol n T (s T m s 9Ja ary 982 p i d th s pp 8

Carol Duncan Who Rules the Art World 1983

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