Perception of Power in Contemporary Art

artwork by Van O (Ivan Isaev)

Much of the contemporary art world is based on illusory aspects of power. There are of course the supposed gatekeepers, but who are these people and do they really determine the threshold of access? They are the museum / gallery director, the curator, the art critic (and critical art publications), the academic scholar, and the financier. These various roles and individuals have been granted the collective power of determining what is art. But what exactly makes these roles so important, and are they are indeed vital to contemporary discourse or the advancement of contemporary art? We seem to be at an impasse where the artist has little say on the direction or focus on art, or at least we are granted the illision of such a prospect. In the institutionalized system, we are constantly informed and reminded of how these gatekeepers are essential to determining the direction of contemporary art. 

artwork by Van O (Ivan Isaev)

Artists are usually told success is based on access and sales, especially on social media. But does popularity or name recognition really matter? And is selling art really so important for artists? In the age of mass digital media and grand art fairs, we seem to have collectively lost focus of the bigger picture. If we look past the titles and noise of much of the art world, we will find very little substance under the veil. The mass production of painting and other commercialized forms of art seems to have doubled down against any consideration for conceptual practices. In our complex era full of conflict, tension, and heavily institutionalized structures, does art which is not conceptual even really matter at this point? We have gone so far as a civilization and the complexity of our world seems to demand conceptual art, however the gatekeepers, digital mass media, and the masses of the people seem to favor design elements over conceptual practice. 

artwork by Van O (Ivan Isaev)

In the end, these titles don’t matter, institutional power is only relevant to those who fall in line with the current art agenda, and artists are constantly encouraged not to stray too far away from the mainstream. Artists are not told the upper echelons of opportunities are solely based on invitation, often given the false hope an open opportunity will arise. These gatekeepers of opportunity are usually not interested in particularly good art, but rather work which serves an agenda, hence the prevalence of themed exhibitions. The fact of the matter is very few ‘gatekeepers’ are actually seriously interested in authentic artistic research and investigation into advancing conceptual principles. For example, let’s take arthouse documentary or performative art. These types of works, especially if they incorporate interdisciplinary and integrative methods, seem to be too outside the mainstream to be commercially viable. Which often leads these types of conceptual approaches of visual art being featured exclusively in specialized venues and platforms. 

artwork by Van O (Ivan Isaev)

In terms of institutional power, nothing is written in stone. What may seem to be an irrelevant art scene today could become the next New York or London. There is no guarantee the current established gatekeepers will remain in power due to the changing dynamics of public funding and independent-based interests. We in the contemporary experimental art movement are the ones who hold the true power by virtue of authenticity and respect. The elite and the gatekeepers stick together like glue which is why the avant-garde of the art world must at least agree to work together in solidarity to institutional resistance. Those of us working outside the mainstream need to be reminded there are outlets and figures out there willing to promote and believe in our work. These specialized venues and platforms (such as Point Pleasant Publishing) offer an alternative art world. One far removed from academia, established institutions, and the recognized gatekeepers. What if we suddenly and collectively decide, as the avant-garde…we are the gatekeepers, not them. Which is why a support structure for contemporary conceptual art is vital to maintain a sense of independence from more commercialized institutional structures. 

performance by Fina Ferrara

The perception of power in contemporary art is real. Much of the art world is based on an illusion of spectacle. Many titles are empty suits and various institutions are really just hollow shells. The reason they maintain an illusion of power is because we grant them such vitality instead of projecting such elements onto ourselves as the avant-garde conceptual experimental art community. Which is why individuals dedicated to experimental research and art must stick together against the mythological and illusory institutionalized leviathan.

artwork by Masha Luch