post-curator art, part deux
Therefore, what does it happen if the artworks, that once circulated mostly thanks to art magazines (supported by gallerists) and exhibition catalogues, are now instantly available online to everyone?
A preliminary answer to this difficult question would be that a lot of people will simultaneously recognize a same kind of “physiological” beauty. Then they will try to buy it, if they can, driven by the idea that they are not alone, but part of a relatively large number of people who love that artist’s work. That is why – as not only Claudia Cargnel says – the request of certain artworks is extraordinary high, even if the curriculum vitae of the artist has no exhibitions, prizes or bibliography on it. It could be just a trend, due to the internet surfers’ appetite for money, but it may also mean something else. It could be the evidence that social networks, blogs and auction houses’ web sites are now informing art people definitely more than traditional art magazines and museums (generally supported by collectors).
Indeed. One can get a pretty decent education in contemporary art by just reading a few blogs and magazines obsessively. The art world may be getting ready for the next stage of evolution after the rise of the art fair model.