The amazing formula to become a star of art
The amazing formula to become a star of art
The secret to do it in the art world? Learn to talk.
A handful of museums and galleries in the United States and Europe have a great impact in which contemporary artists achieve long-lasting and prestigious careers and not, according to a study from the University of the Northeast published Thursday in the journal Science.
According to the study, new artists who show their work in a relatively small network of 400 places, such as the Gagosian Gallery or the Guggenheim Museum, are guaranteed a successful artistic career. In contrast, artists who exhibit primarily in lower-level galleries and mid-level institutions are likely to remain trapped in that orbit.
"There is this invisible network of trust that exists in the art world, but the group that decides who matters in art was considerably smaller and more powerful than we expected," said Albert-László Barabási, a data scientist who studies networks in the Northeast and led The Study, along with several colleagues, including a data scientist at the World Bank, Samuel Fraiberger. His findings also appear in Dr. Barabási's book published earlier this week, "The Formula: The Universal Laws of Success."
His discoveries undermine a popular notion of the art world that a prodigy could create in the dark and be discovered years later. Instead, the research suggests that artists who begin to seek connections with powerful curators, merchants and collectors within the nerve center of the art world are much more likely to get to the big time.
Dr. Barabási and his team spent the last three years rebuilding the stories of the exhibition of nearly 500,000 artists, whose work was shown in nearly 16,000 galleries and 7,500 museums between 1980 and 2016. He and his team also tracked sales made in 1,239 global auction houses from the same 36-year time period.
They used this data to help track the paths that artists took at the beginning of their careers, and how one that gained a place on the list in Gallery A was subsequently exhibited at Museum B and then at Museum C, for example. Dr. Barabási analyzed the overlapping connections and mapped the institutions that were key to helping most artists succeed in the long term, or not.
The result is a formula that Dr. Barabási said can predict which artists who work now, according to their connections within this network, are more likely to become superstars.
"If one of his first five shows as an artist takes place in a gallery at the heart of this network, the chances of his career ending in the periphery are 0.2%," said Dr. Barabási. "The network itself will protect it because people communicate with each other and exchange between them."
So, who forms the core of this network? The list leans towards American institutions such as the Museum of Modern Art, the Art Institute of Chicago, the J. Paul Getty Museum and the Metropolitan Museum of Art. European museums include the Haus der Kunst in Munich and the Tate in London. Distributors include Paula Cooper, as well as galleries with multiple locations and considerable operations such as Pace Gallery, Hauser & Wirth and David Zwirner.
Magnus Resch, an economist who teaches at Columbia University and helped Dr. Barabási to collect the data, said the findings had devastated him because they suggest that thousands of galleries outside this center have little impact, regardless of the quality of the art they show or sell.
"The art world prides itself on being so open and inclusive, but the opposite is true," said Resch.
The study also projects the so-called islands on the periphery of the network, populated by galleries and museums in places like Germany, Australia and parts of Asia that look like islands. For example, Germany is full of non-collectible museums called kunsthalles that organize many shows with young artists, but Dr. Barabási said that his research revealed that few of these places ended up exchanging artists with the influential museums that ultimately determine the success of an artist.
"The conduit for greater success is not there," he said, although he acknowledged that there were possible exceptions.
The network also benefits artists who live in cities with thriving art markets such as New York and London. Of the artists tracked in the studio who were born in the USA UU., A quarter obtained places in places of great prestige, in comparison with 11% of the artists in Canada and 9.2% of the artists in India.
However, the network is not defined solely by geography. The galleries physically located near the MoMA were not necessarily more influential than those in San Francisco or Shanghai, according to the study. In some aspects, Dr. Barabási said that for an artist it is more important to obtain a sample in an important encyclopedic museum such as the Art Institute of Chicago than a lively museum of contemporary art.
That's because the Art Institute shows fewer live artists, and that's why "it has more weight," he said. So far this year, the Chicago Museum has opened shows with a dozen living artists. Last year, he showed eight.
James Rondeau, director of the Art Institute, said he remains skeptical about the metrics of success in the art world, but added that he wonders if the research could remove curators from the routine they are in when it comes to to look for talent
"Maybe we can use it to give voice to marginalized artists out of the way," Rondeau said. "We need to use our eyes as well as our ears."
Write to Kelly Crow in kelly.crow@wsj.com
.
!function(f,b,e,v,n,t,s)
{if(f.fbq)return;n=f.fbq=function(){n.callMethod?
n.callMethod.apply(n,arguments):n.queue.push(arguments)};
if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0';
n.queue=[];t=b.createElement(e);t.async=!0;
t.src=v;s=b.getElementsByTagName(e)[0];
s.parentNode.insertBefore(t,s)}(window, document,'script',
'https://connect.facebook.net/en_US/fbevents.js');
fbq('init', '369524843414444');
fbq('track', 'PageView');
.
SOURCE LINK ERESVIRAL.COM https://www.beviral.online
Comentarios
Publicar un comentario