Crayon @crayonpep - Twitter Profile

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@returndotart

6 days ago

مسيرة العودة الكبرى by @_pixellare

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DagieDee

@DagieDee

7 days ago

Some points on @jerrysaltz latest post. 1. Over the past 35 years, many major galleries have shifted from discovering artists and emerging art forms to actively constructing artists’ careers and market positions. In this model, the artist increasingly becomes the product rather than the artwork itself. Among a growing number of collectors, that narrative is gradually losing credibility. 2. The traditional mechanisms of exclusivity are also being challenged. Invitations to private openings and VIP previews once created a genuine sense of access and distinction. Today, artists communicate directly with audiences through social media, while visitors regularly share images from pre-opening events online. Moments that were once exclusive have become instantly public. 3. Unlike the twentieth century, contemporary art is no longer organized around a small number of dominant movements with relatively clear aesthetic criteria. Movements such as Impressionism, Cubism, Minimalism, Fluxus, Arte Povera, Land Art, or Conceptual Art gave artists, critics, galleries, and collectors a shared framework through which artistic quality and significance could be discussed. Today, the field is highly fragmented. While many interesting tendencies and communities exist, there are no real apparent movements that carry the same cultural authority (except for a small emerging underground digital art scene). As a result, both artists and the public often struggle to evaluate claims of quality made by galleries. Without broader movements or shared criteria, it becomes increasingly difficult to understand why one artist should be considered more important than another. This weakens the role of galleries as cultural gatekeepers and arbiters of artistic value. As a result of these shifts, many younger collectors increasingly prefer artist-run exhibitions and direct relationships with artists rather than relationships mediated through galleries. If the traditional role of major galleries is to build credibility around artists, they now face competition from a new source of credibility: the audiences artists cultivate themselves. Views, engagement, followers, and online communities have become alternative forms of cultural validation that operate independently of traditional gallery structures. As a result, big galleries like @PaceGallery increasingly have to justify what unique value they bring to the cultural conversation.

DagieDee's tweet photo. Some points on @jerrysaltz latest post.

1. Over the past 35 years, many major galleries have shifted from discovering artists and emerging art forms to actively constructing artists’ careers and market positions. In this model, the artist increasingly becomes the product rather than the artwork itself. Among a growing number of collectors, that narrative is gradually losing credibility.

2. The traditional mechanisms of exclusivity are also being challenged. Invitations to private openings and VIP previews once created a genuine sense of access and distinction. Today, artists communicate directly with audiences through social media, while visitors regularly share images from pre-opening events online. Moments that were once exclusive have become instantly public.

3. Unlike the twentieth century, contemporary art is no longer organized around a small number of dominant movements with relatively clear aesthetic criteria. Movements such as Impressionism, Cubism, Minimalism, Fluxus, Arte Povera, Land Art, or Conceptual Art gave artists, critics, galleries, and collectors a shared framework through which artistic quality and significance could be discussed.

Today, the field is highly fragmented. While many interesting tendencies and communities exist, there are no real apparent movements that carry the same cultural authority (except for a small emerging underground digital art scene). As a result, both artists and the public often struggle to evaluate claims of quality made by galleries. Without broader movements or shared criteria, it becomes increasingly difficult to understand why one artist should be considered more important than another. This weakens the role of galleries as cultural gatekeepers and arbiters of artistic value.

As a result of these shifts, many younger collectors increasingly prefer artist-run exhibitions and direct relationships with artists rather than relationships mediated through galleries.

If the traditional role of major galleries is to build credibility around artists, they now face competition from a new source of credibility: the audiences artists cultivate themselves. Views, engagement, followers, and online communities have become alternative forms of cultural validation that operate independently of traditional gallery structures.

As a result, big galleries like @PaceGallery increasingly have to justify what unique value they bring to the cultural conversation.

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