Today I wanted to write about this topic that for me is really exciting, especially because for a few years, I have had contact with great professionals from the Art world. Each of them has contributed with their personal experience, their vision of the artists and their works and the environment of the galleries, museums and auction houses. And I have learned a lot from them.
«The National Gallery» London
One of the questions I always asked them was whether if there were certain guidelines or requirements to give each work a value. And, of course, there are for each artist and the art market moves through them.
But personally, I think that in addition to those requirements that give value to the artist and his work, it is also the value that each of us give it.
If we review the techniques used and the elements embodied in each of these works -whether in painting or sculpture-, we will see an expression very different from that of recent times, where abstract art has led, and where the artists have presented elements unthinkable in the past.
Then a new question arises as to whether it is the market that bears the guidelines of the value of the artists or is it the art itself that triumphs with its criteria. Is this value simply a concept, a marketing strategy or, on the contrary, the ability to create emotions in the people who contemplate the works?
When I visit museums in different cities, I realize that the emotions that some artists provoke me greatly gratify me and take me to a different Universe, where the technique used, the strength of the colors, the composition of the works in yes, make my eyes have much more value.
And curiously, abstract art can take me to a new world where the life force of each artist can change me emotionally.
Therefore, the market fluctuates unpredictably.
Market prices are difficult to establish. When is an artist deified and why? Perhaps the renowned critic Isabelle Graw would answer us in her book «How much is art worth?» Why is a work of art worth one price and not another?
The art market circuit, with its different forms of commercialization -galleries, dealers, etc.-, pulls the strings and positions the works at the top or definitively dethrones them.
I think it will be very interesting to observe where the digital world will take us and what proposals the professionals of this exciting and misunderstood world of art will make us where the «backstage» is very different from the scenario they show us.
We will all have to reserve the front row seats!
The work promises!
