The largest looming activity of new strategies have been administered as public relations and marketing by big galleries for especially of late, is spotlighting more and more by popular issues and topics. Arguable point is the convincement of these are given forth as criticism of popularizm. The efforts to embellish contemporary plastic arts with the marketing habits of other parallel contemporary art disciplines, do increase the public interest on this field, but they also query the respectability perception in the market.
A domestic boast in mag parlance can be absurd, trying exaggeratedly to convince on the perception about the eminence of contemporary art, maybe with the success feeling driven after being the first in terms of attendance to an important international art fair or establishment of a branch gallery in a foreign country. The milieu, gradually hiding the artistic works’ plastic, conceptual and artistic adequacy and the artists’ sincerity behind the text writers’ creation, contrary to expectations is creating dissatisfaction. If the viewer, in such an environment, handing the exhibition test or the artist’s statement and has read the big talking of the artist in interviews (mentioning the bigness perception driven by not being on the safe side with the sincerity) stands in front of the artistic work ( the majority of people earning their livings in this market follow this order, besides collect information from every media as much as possible) unfortunately may frustrate.
Maybe as a negative perspectival critic, this may be called as a change in mission fed on with either being in league with other media and disciplines such as, music, fashion and cinema, or getting carried away while drinking coffee to become sober after a famed party (maybe overestimates word-of-mouth). It is also possible to be influenced with the marketing genius after managing more international doings in number and adding artists living or educated abroad to the permanent staff. However, it is hard to say that there is no change in operations.
It is something calls attention to the marketing aura covering the artistic work, that the artists are commenting conflicting even contrary statements with their ways of living and works on delicate subjects that are order of the day or talking elitist affording to deify them. In other words, the artists’ sayings and the line of actions, changing when a microphone or a camera is seen, are being talked and works and exhibitions are being put on the back burner, as a disturbing point for artists. It is indeed a responsibility for the artists to cogitate and talk these out, contrarily the problem I mentioned is that their style and way of expression are not fitting on them properly where there isn’t any work related with this issue (in fact if these works exist they must convince us to the sincerity)
The question that I’m actually trying to find an answer for here is, why this way of public relations is preferred? Galleries can settle different strategies at first, as marketing to swing it, such as speaking in public, with collectors or only intellectuals. On the other hand, sincerity and consistency perceptions of customer appear to be the most important and necessary points of the following process called public relations, actually where, the brand positioning is performed means to form an opinion about brand in customers’ mind.
When we enter to the galleries in the incontestable apartment presented as the most important sanctuary of contemporary art, such a feeling starts to rise: Here is such a holy and incomprehensible place in where these works of the famous artist are shown have to be as holy as it. Contrarily, curiously enough, we don’ t feel like that when we go to the banks' galleries which may be biased as being closer and predisposed to appraise world in a materialistic approach. According to my opinion, there can be two definitions of why these precious galleries that have a high value in the hearts of the art audience and professionals chose to act as a new gallery aggressive to spotlight for achieving the publicity instead of their niche audience. Firstly, as I mentioned above, it is considered as applicable domestically, when seen that the strategies deployed abroad are successful. Secondly, more PR, with the new niche customer segments discriminated from the whole audience according to their closure to the popular culture ,are targeted in order to scoop in competition among leaders.
Being more analytical, the second possibility noticeably defines the alienation felt by some of the viewers and artists, besides unfortunately this definition proves the success of the gallery in strategy deployment. Consequently, it is possible to say as a critique involutes with fear (from a marketing point of view), it is a dangerous and troublesome change (even the necessity of this change is proven empirically) for an adolescent ‘company’ that it can bear a loss in loyalty of the present customers. Furthermore, the change threshold of the audience in terms of trust and respectability must have been predicted as high as possible, where the sector is not degenerated with popularization as it is in sectors such as music, fashion and cinema.
Alper Karabatak
26 January 2010
www.Art-Core.tv
Photo by oktena(panoramio.com), google earth selection.
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