The Avant-Garde Realm Versus the Commercialized Art World

moving-image still by Molly Dario

The giant elephant in the room which few seem to want to address is the obvious…the over-commercialization of the arts. Now, don’t be mistaken. Just because we are discussing the over-commercialization in the arts does not automatically mean we are anti-money or have the belief money and art are incompatible. Some ‘art experts’ consistently imply artists are lazy and do not know how to market themselves, however such commentary is misleading. The real problem is lack of collectors in the art market and poorly informed collectors making commercialized decisions. We have to collectively rethink what we consider to be valuable art. If you want an idea of how few collectors there are out there, you should note about 70% of all global galleries are either losing money or breaking even, and only 18% are running at a profit margin of at least 20% (according to UBS / Art Basel statistics). 

moving-image still by Molly Dario

Now, there really are two art worlds…the commercialized art world and the avant-garde art world. The commercialized art world is like a fine-tuned plutocracy and the ‘recognized’ individuals who safeguard this system stick together like glue. This web-like structure of art oligarchs spans galleries, museums, academia, institutions, and publications alike. What most people do not understand is the commercialized art world and the avant-garde art world are not in direct competition with each other, because they have none of the same interests. They instead operate in their separate spheres of influence. The avant-garde art world is largely de-centralized but does operate like a system of city-states. We will find the main issue with the avant-garde is they do not stick together. Besides fierce individuality, the reason for the lack of collectiveness with the avant-garde has to do with a false perception of being overshadowed by the commercialized art world. In reality, these two polarized realms have nothing in common.

moving-image still by Molly Dario

For an analogy, we may want to consider the storyline in Command & Conquer 3: Tiberium Wars, the video game. In C&C3, Kane, the leader of the Brotherhood of Nod, starts a war with the Global Defense Initiative (GDI). Nod is losing the war, but even Kane’s most loyal followers do not seem to understand his true plan or intentions, which cause them to turn on him. Kane’s real intention in starting a war with GDI was not to win the conflict, but rather, provoke them into using their space-based superweapon on his temple in Sarajevo (which was guarded by a massive technological shield). The goal? To create a cataclysmic chemical reaction of the ecologically-destructive tiberium resource consuming the earth. The resulting massive explosion lures extraterrestrials to invade earth and build portals. Kane’s goal all along was to infiltrate these portals, escape to another dimension and attain enlightenment for him and his followers. 

abstract photography by Gaëtan Changeur

Now you may be wondering, what on earth does this science fiction narrative have to do with art? The true analogy is, the avant-garde does not need to win a ‘war’ against the commercialized art world in order to gain influence or to spread enlightenment. Access to digital technology has allowed us to behave as ‘individual institutions’. For example, Point Pleasant Publishing would not be able to function in our current role without access to the wonders of print-on-demand technology, because we do not have the resources to set up a brick-and-mortar publishing house. Another example would be access to digital media. Thanks to popular websites like EventBrite and ArtRabbit, with a modest budget and creative initiative, any curator can rent a space and promote their exhibition reception on these websites with paid promotions to draw in a crowd. Having extended long-winded exhibitions may turn into a thing of the past for the avant-garde…in fact, the focus could turn to limited-duration arts festivals (instead of exhibitions proper) and drawing in blockbuster crowds, or at the very least, an audience which exerts influence, such as the professional managerial class and / or other artists.

installation by Chenglin Li

So while the commercialized art world may be thinking they are winning the war, they are in fact losing the battle. How? They have built a system based on brick-and-mortar assets and have fallen behind on the technology which exerts great influence over overall contemporary discourse. This is not a battle over power and access, but rather of ideas and mobility.

performance by Fina Ferrara

The mobile and agile avant-garde can shape discourse and, as a result, the overall direction and future of art by bypassing the brick-and-mortar traditional system in favor of independent operations via online promotions, a turn to arts festivals instead of exhibitions proper, and spreading ideas through print-on-demand technology. The biggest threat to the avant-garde is not the commercialized establishment, but rather, artificial intelligence. AI has divided the avant-garde community. You have one segment which completely shuns the use of AI in any capacity, including in arts writing, while the other faction seems to embrace AI arts writing and AI-enhanced systems of influence in image-making. In reality, artificial intelligence has nothing to offer us besides division and waste. We cannot commit to meaningful arts writing with AI-infused slop in our texts which muddies authentic philosophy and overall discourse. 

performance by HsinYing Lin

We will find the commercialized art world is a relic of the past, a business storefront for oligarchs which has little to nothing in offering anything to the avant-garde, because we share none of the same interests or goals. The objective of the avant-garde is to enlighten everyone, while the commercialized system is all about money, access, and power. We have nothing in common. The arrogance, greed, and cronyism of the commercialized art world will only take them so far. 

performance by HsinYing Lin

As we have discussed in previous essays, only the enlightened elite can truly appreciate high art. Since time immemorial, the masses of the people have always preferred easy entertainment over high art. Nothing will change this. However, the real goal of the avant-garde is to enlighten as many people as possible. While we cannot influence everyone or even a majority of the people, we can create a distinct realm worth living in. In other words, carving out our sphere of influence to have increased sustainability and an atmosphere of easily sharing information and art to those who choose to be enlightened.