By Jane Kallir | Posted 12 July 2007
For the past century or so, the art world has been supported by four principal pillars: artists, collectors, dealers and the art-historical establishment (critics, academics, and curators). From a wider historical perspective, the latter two entities are relative newcomers. The development of art history as an academic discipline, and of public museums, dates back only to the 19th century. Only in the 20th century did dealers evolve from passive shopkeepers to pro-active impresarios, promoting the often difficult efforts of the pioneering modernists with missionary zeal. Public resistance to modernism, coupled with the pressures of international capitalism, gave new importance to dealers and museums, both of which played key roles by superintending the distribution of new art and ratifying its seriousness. At varying points in the course of the past 100 years, the weight of the art world has shifted from one of the four pillars to another. Artists made the modernist revolution; dealers recognised and supported it before academia did; in the post-war period, critics became so dominant that Tom Wolfe lampooned their influence in his 1975 book The Painted Word. And now, it seems, collectors have taken charge.
Over the long term, art-historical value is determined by consensus among all four art-world pillars. When any one of the four entities assume disproportionate power, there is a danger that this entity’s personal preferences will cloud everyone’s short-term judgement. Put bluntly, the danger of a collector-driven art world is that money will trump knowledge. Great collectors should ideally become nearly as knowledgeable as the curators and dealers who help them build their collections. But not all of today’s collectors have the passion or the time necessary to develop this depth of knowledge. Collecting, once the pursuit of a relatively small number of driven individuals, has become far more common among far more people.
This expansion of the art market, made possible by the broader dissemination of concentrated pockets of wealth and by the globalisation of art and related information, has drawn in players who do not have the focused commitment of the traditional collector. The exponential growth of the market, and the genuine gains realised by those who got in early, inevitably fuel the tendency, justifiable or not, to view art as an asset class comparable to stocks or real estate.
Art has also become the greatest common denominator in the new global social order. Today’s rich are an international elite whose members can measure their cachet by the level of VIP services given them at Art Basel and Art Basel/Miami Beach. Anointed by the glamour that today attends the public display of great wealth, the art world has acquired the patina of trendiness that was formerly exclusive to the entertainment and fashion industries. The contemporary focus on trendiness and investment potential, each of which operates on a relatively short timeline, obscures the fact that lasting value in art accrues in the course of generations.
The corollary to a collector-driven art world is that the canon of ostensibly great artists is being largely determined by market forces. The huge prices that have been achieved lately at the top of the market are the result not only of new concentrations of wealth, but of the fact that many people are pursuing the same handful of artists and works of art. Therefore the drop-off from the peak can be steep, becalming the middle market and consigning lesser works and lesser artists to also-ran status.
This is a market with a voracious appetite for alleged masterpieces, and little patience for historical or developmental nuances. It encourages superficiality: rather than collecting a single artist or group of artists in depth, collectors now often prefer to amass scattered masterworks: here a Matisse, there a Picasso, and then perhaps a Schiele. In an overheated environment, the art-historical establishment often finds itself chasing rather than guiding the market. The press must keep up with the latest trends, and coverage of social events and record prices often takes precedence over quiet critical reflection. Museums need the support of trustees, but the most powerful collectors no longer need the imprimatur of an existing museum; they can simply open their own.
If it sometimes seems that the art-historical establishment is missing in action, this is in part because, while the market has been aggressively constructing a new canon, academia has been busy deconstructing the old one. For several decades now, scholars have generally agreed that the white, male, Eurocentric canon that traditionally dominated Western art evolved from historical biases that are no longer morally or intellectually justifiable. Although this change in orientation has literally opened up a whole new world of aesthetic possibilities, it has discouraged academics from making qualitative judgements. Scholarship in areas that are useful to the marketplace, such as provenance and authenticity, has flourished, but overall connoisseurship has declined. Similarly, market pressures push dealers to become generalists, showcasing a hodge-podge of high-ticket items instead of specialising as they formerly did. Auctioneers, operating within a timeframe that seldom extends much beyond the next sale date, focus most of their energies on the highest priced lots. Novice collectors, justifiably wary and insecure, engage consultants who often know far less than the dealers and auctioneers. At every level of the art world, deeper knowledge and principled guidance seem to be in short supply.
The writer is co-director of Galerie St Etienne in New York
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