Money is Eating Art

Money is dangerous. Make that ‘money’ as metaphor for greed, singular symbol of status - and, increasingly in the world of creativity, the only thing that matters. From international auction houses to so-called art fairs, from art school class rooms to gallerists’ offices, the famous song from Cabaret is reinvented and blaring: “money, money, money makes the (art) world go round”. And it is steadily getting louder in local art circles.

But what goes around, comes around (as Justin Timberlake sang), and it is dangerous. For art.

The international shift to re-position art value in terms of monetary appeal (the only thing that those with far too much, easily earned, understand about culture), more or less invented by cunning advertising mogul Saatchi, has clearly turned the South African art scene on as well.

Nowadays, virtually the only issue discussed about an artist is the highest price achieved for her/his work. An artist’s status is confirmed not by admission to an important, authoritative public (and this is important) collection or museum, but what has been paid at auction, fair or fancy gallery. Kentridge at so many dollars; Dumas at so many euro’s - look how famous; they must be good!

Many commentators have been warning how this scenario is eroding expertise and advancing formulistic art production. An art world, ruled by big bucks, where there are no more challenges for invention and creativity, no more chances to experiment, be adventurous and outrageous, will soon become stiflingly stuffy. A lot of us would rather read books and poems, I suspect.

Hopefully the present global economic downturn may have corrective affect, but don’t hold your breath. The mega rich still have plenty and, as a very interesting article by Ben Lewis and Jonathan Ford recently in Prospect magazine pointed out, the international art market (where stuffed sharks and other one-liners trade) is the most unregulated, speculative money market of all. They suggest that art dealing at that level is a pretty murky business. (But then as the Kebble saga showed, artists don’t mind a little moneyed dirt.)

Meanwhile South African gallerists and dealers are nervously wringing their hands. And, while packing for the next Joburg Art Fair, just wondering whether they’ve pitched the price of so-and-so right. (Note: not whether so-and-so should be shown at all because of the work.)

To demonstrate the danger of money and art in cahoots, a local vignette:

A friend, a dog-lover and also a sensibility for new art, was taken in by a series of dog photographs at a local gallery. The bright young thing that produced the pictures, had only recently finished at a local art school. Quite extraordinary and eye-catching the budding photographer was onto a good, if one-liner theme, but it was clearly only the start of things.

Dog and art-loving friend was quite taken aback when a single print of the debuting artist, out of an edition of seven, was to be had for R22 000 plus Vat. This was clearly no deal. (The poetic, but all too reasonable question is whether the young artist will ever win back the enthusiasm for his work lost by greed?)

But let’s hope the collapse of rampant capitalism brings some sanity. Art and money simply don’t make a happy couple. Not for invention and originality, nor for outrage and challenge.

Robert Sloon gave the connection on his Artheat website, but it is worth repeating. The sneaky American artist Sean Landers was asked to respond to the current international art market crash. Art is not money, he wrote, and when the two get too close together, money takes over and makes art into itself.

Let’s hope his enthusiasm swings this way as well: “I’m looking forward to seeing some art. Art unfettered by the market frankly. I’m looking forward to visiting a few art colleges and not seeing blatant careerism in each studio and art dealers stalking every hallway. I’m looking forward to seeing young and established galleries showing weird young artists with nothing to lose, making art that they know no one will ever buy, and in the process fearlessly stumbling onto the next big thing, whatever the hell that turns out to be.”

May our money-eyed gallerists, artist and fair-goers also see the light. Otherwise art is gonna be chewed up.