What is art, who is an artist, and is it possible for art to be commercially driven?
Art is hard to define. Maybe that is also one of its many interesting and crucial aspects. Art has been explained as the ultimate escape or respite from the routines of everyday life, as the enabler to our reflections of life’s bigger questions, and as an important provocateur and debate stimulator in our societies. And for some it’s something that has always existed in a world outside of their own.
For centuries art was created by a handful of celebrated geniuses, primarily to serve a purpose for a powerful patron. In the seventeenth-century Europe however, intellectuals started challenging existing systems of ethics, environment and religion, and artists started to argue that art did not need to fulfil a certain purpose, the notion of ‘art for art’s sake’. New possibilities opened up, and so also new understandings of what art had been and should continue to be (An and Cerasi, 2017). This is of course something changing also today.
Art and business has historically been seen as two completely separate areas. However, the last decade these two areas are more often related to each other, and are clearly influencing each other in different ways. Foremost is the shared challenge of taking a nascent idea, bringing it to life and create emotions. The increased relationship between art and business has also given birth to the area called Cultural economics: the branch of economics that studies the relation of culture to economic outcomes (Wikipedia 2018, Stenström 2008)
According to Emma Stenström, a scientist and the author of the book “konstiga företag” about art and business, it is sometimes said that there is two paradox trends when it comes to art and business in society. One of them is an aestheticization of the non-art, and the other one a de-aestheticization of the arts. On one hand, arts’ position in society has for some time been shifting, and cannot longer be seen as a separate and closed world with its own institutions. On the other hand, the society is in total getting more aesthetic.
In the book it is also suggested that one may ask whether it is however rather about business increasing its importance and control over society in total. The increased importance of aesthetics could hence be seen logically and rationally from a capitalist perspective: necessary to increase sales. What if companies or businesses see themselves as the actual art and culture producers? If so, what purpose does more traditional art have in the 21st century? (Stenström, 2008).
It should come as no surprise that design and aesthetic as well as artistic values have been used in order to create emotions and strong associations for brands for a rather long time within the marketing and advertising field. After the Second World War the availability of art and design also shifted and became more democratic, just as the society in total. When production of everyday items increased, artists and designers were hired in order to make the product designs more appealing. Hence, the similarities between art, crafts, industrial design and other goods were increasing and have continued to influence each other more and more ever since. (Nationalmuseum 2018).
Today, the most talented filmmakers, actors, illustrators, photographers, writers are often hired by companies or agencies to create and be part of campaigns, concepts or commercials.
In a world where business is increasingly celebrating creativity and art is having to find new ways to sustain itself, have the two found allies in one other? (Davis, 2018). Both the artist and the creative business need to make money to survive, and do both to some extent see a purpose of affecting people. With this background: what decides what is art and not? Who should and can be called an artist? And can art be commercially driven?
These are questions we seek to examine the coming weeks by talking to people with knowledge or opinions in these fields.
Recommendation of books and articles:
The book “Konstiga företag” by Emma Stenström (2008).
The Book “Who’s afraid of contemporary art?” by Kyung An and Jessica Cerasi (2017)
Texts from the Nationalmuseum collection, 2018.
Reflection: Jesper Dahl, Digital Strategy Manager at Whispr Group and exhibition producer
In last week’s Issue we started a conversation about the relationship between art and business. In a world where business is increasingly celebrating creativity and art is having to find new ways to sustain itself, have the two found allies in one other? In order to receive som thoughts we reached out to Jesper Dahl, who from his rich background within the marketing field, design management studies at Parsons and from producing various exhibitions, has knowledge from different perspectives related to the topic.
What would you say, if possible, defines art?
– In my opinion art is defined by intention, canon and to some extent quality and originality.
Do you agree that society in total is getting more aesthetic, and if so, what does it mean for artists and art?
– I would definitely agree that it is becoming more dependent on aesthetic practices. Screen society forces or demands a larger amount of images to be produced and a larger set of services to be designed. Our knowledge of the aesthetic world is being more informed by images; which can work as something that heightens the “taste level” but also (or perhaps even therefore) streamlines art and design practices making them less original.
– They can, but it is unlikely that what they produce in their paid work, in that capacity is art, rather than a result of their craft. Also; a person who is an AD or CD can ALSO be an artist in a separate practice, but seldom in the same. Capitalism is very eager to make us confuse art and craft, to give craft the value of art and sell it back to us.
Find out more about Jesper Dahl and his thoughts here. Jesper’s next show “Sovande Bilder” by Angelina Bergenwall and My Roman Fagerlind opens at Erik Nordenhake on the 22nd of November