Firstly, this essay will compare the values
associated with fine art against the values of more popular forms of visual
communication, a term that in itself needs defining. As visual communication
can be associated with a range of different creative subjects, a specific field
needs to be selected to compare the fine art culture against. Moreover, ‘more
popular’ is a term which can be applied for two reasons one, more people like
that form of visual communication, and two, it is more accessible and therefore
more popular. Graphic design is a form
of visual communication that is freely available to the majority of society,
and therefore will be the subject that is compared to art. The essay will
define and compare the values associated with each subject, focusing on the
commercial and social benefits, as they have most relevance to modern society.
The term value has many meanings, but
when used in context with fine art, value has three main definitions, “commercial”,
“social” and “essential” (Findlay, 2012, P9). Moreover, fine art also
has historical value as well. The commercial value of art is defined by money,
and the business that surrounds the buying and selling of art. The social value of art can be defined by how
people react to specific pieces of art. The essential value is in the eye of
the beholder (personal taste). Finally, historical
value can be given to a piece of art for numerous reasons, such as if a piece
of art captures an important historical moment.
To begin with, a definition of the subjects will
help define the initial differences. Graphic design is a modern creative
subject that uses a mixture of type and image to communicate a message to an
audience.
“The graphic designer is basically organising and
communicating messages.”
(Heller, 2000, P9)
Essentially, graphic design is all around us, it
can be seen in newspapers, magazines, on posters and billboards, it influences
society on a daily basis as they are submerged in a sea of visual
communication. One important factor that needs be acknowledged is graphic
design has function; it is created for a purpose. In the world of design most work
is created for a client, they will set the constraints that the work has to
meet, each piece of design has a lot of different factors that need to be taken
into consideration before creating the piece. Moreover, graphic design also has
historical importance, the Russian constructivist movement consisted of Russian
designers such as El Lissitzky, who created propaganda for the masses during
the Russian revolution, “El Lissitzky was an important propagandist”. (Gerber, 2010, P99)
Contrasting the direct functionality of graphic
design, art is a subject in which pieces of work are usually created purely for
aesthetic purposes, and have little or no functionality; “art serves no necessary
function” (Findlay, 2012, P13). The purpose for creating such works
of art range, some artists create pieces of art purely for commercial purposes,
while others try to capture feelings, or moments in time, it really depends on the artist and their influences. Here we
can highlight a fundamental difference between the two subjects; graphic
designers revolve around the client and audience when creating pieces of work,
whereas artists create work for themselves unless otherwise commissioned. An important factor we must acknowledge in
the early stages of this essay is the phrase ‘art for art’s sake’, which
basically means that “art does not have to serve purposes taken from politics, religion, economics, and so on.”
[5] but can be created purely
because of its aesthetic qualities. This prompts the question, if art has no immediate
function, why is it so valued?
To discover why art holds so much importance the
values discussed in the introduction need to be revisited. Firstly, Commercial
value regards money and all things associated with the pricing and selling of a
piece of artwork. There are two markets for pieces of art, primary and
secondary.
“There are two distinct markets, which are
interrelated and sometimes overlapping: the primary market for an artist’s new
work and the secondary market for works of art that are second-hand (or third-
or twentieth-hand.” (Findlay, 2012, P14)
Works of art from the secondary market often
generate more money when taken to auction than pieces of art from the primary
market. Evidence of this can be seen when reviewing the most expensive works of
art ever sold. Paul Cezanne’s ‘The card players’ was created in the years 1892/93
and is to date the most expensive painting ever sold, it was bought for
250million dollars by the family of Qatar at a private sale. Pieces of artwork
belonging to the secondary market often have more commercial value, as there is
more money is circulating in this market. Therefore, when assessing the
commercial value of art, pieces from the secondary market will be used.
The value of pieces of art from the secondary
market can be affected by numerous factors, however when a piece of art is
being assessed for auction there are five factors that are considered; “ Provenance,
Condition, Authenticity, Exposure and Quality” (Findlay, 2012, P39)
each of these factors affects the commercial value. A professional involved with the “conservation
and restoration of works” ” (Findlay, 2012, P41) usually assesses
the condition of a piece of artwork, they will review the condition of the
artwork and then create a “condition report” (Findlay, 2012, P41)
that is reviewed by dealers when pricing. The authenticity of artwork is
usually specified in the “auction catalogues” (Findlay, 2012, P41) which
hold detailed information about each piece of artwork; if a piece of art is not
genuine then it is usually worthless. Moreover, exposure is simply defined by
how much publicity a piece gets. A collector can increase the exposure of his
artwork by lending the piece to galleries and museums, in doing so the piece
can gain more commercial value due to its exposure to the public. A very
important factor affecting commercial value is quality, the quality of a work
of art is judged on three main criteria;
“Mastery of medium, clarity of execution, and
authority of expression are vital criteria applicable to all works of art,
regardless of style or subject.” (Findlay, 2012, P47)
For a piece to be deemed ‘high quality’ it is
usually reviewed by a collector and must excel in all criteria. Finally, provenance
is a quality that all pieces of art from the secondary market have; it is created
when a work of art changes hands and has a history of past owners. What is
interesting about provenance is how it can be affected by the status of its
previous owner. An example of this commercial gain can be seen in the sale of
Rothko’s Untitled (Yellow, Pink, and Lavender on Rose) by Sotheby’s.
“Sotheby’s sale in May 2007 included Rothko’s
Untitled (Yellow, Pink, and Lavender on Rose), which belonged to David and
Peggy Rockefeller. Because the proceeds were destined for charity, David
Rockefeller allowed himself to be photographed with the work, and Sotheby’s
waged and extremely aggressive marketing campaign leaning heavily on the
Rockefeller provenance. The painting sold for $72.84million.” (Findlay,
2012, P40)
This is a clear example of the high culture that
can be associated with fine art, the value of the Rothko painting increased,
not because the painting was historically or socially valuable (things which
benefit the public) but because of the status of its previous owner. It is
clear that the commercial value of art is defined by many factors that are
reviewed and judged by a select group of dealers and collectors, this is
evidence of the selective culture that surrounds fine art. The same cannot be
said for graphic design. However, making a comparison between the commercial
value of fine art and graphic design is impossible, as works are created on completely different
terms. An artist will create a collection of self inspired work that is then
introduced to the art community through a dealer and then and sold at auction.
However, a graphic designer is commissioned to create a piece that meets the
specific needs of a client, that same client pays them for the work completed.
We could compare the yearly earnings of a graphic designer against the amounts
made by art in the secondary market. However, even the most expensive designers
in the world would not make $72.84million (the price paid for Rothko’s Untitled
(Yellow, Pink, Lavender on Rose) in a whole year, if they worked solidly
completing project after project. This is evidence that fine art has more
commercial value in society than graphic design. However, it is not society
that is giving art the renowned price tag, but actually a collective of wealthy
art collectors and executives.
Modern society relies on money to continue
functioning, which could explain art cultures dependency on it. However, this still does not explain the
extortionate amounts invested into certain works of art. Firstly, fine art and
money have a historical relationship, since the Renaissance period art has been
created for commercial gain.
“The quickening of commerce in the Renaissance,
and the development of a mode of production centred on the expansion of value,
brought a great springtime romance between art and money”. (Mattick, Jr,
2000, Pp 65)
Today, capitalist culture requires artists to
create work for money, as money is essential to survive in society. Moreover,
on the other side of the coin are the investors. Works of art were first
collected by royal families and displayed in museums to use as a signifier of their
wealth and power, “The museums were created out of princely and royal
collections ... as important signifiers of national power and dignity” (Mattick,
Jr. 2000, Pp 65 & 66).
Things have not changed; art is still used by
the wealthy as a signifier of power. However, it is also used as an investment
and a safeguard for money. In current society the financial system is in a
state of disrepair, in 2007/2008 we saw the global financial market collapse, businesses,
banks and governments were all affected, “Autumn's market mayhem has left the
world's financial institutions nursing losses of $2.8tn” (Houghton and miffin co. 2013)
With
a financial system that is so unstable, fortunes could be jeopardised. The rich
needed a way of protecting their money, and commodities such as property and
art are the answer. By investing money in art the monetary value is safe from
implications caused by the banking system. If anything, their investment gains
value with the right exposure. The large investments from arts high culture are
responsible for the commercial value of art. Additionally, the high value keeps
the market selective, as the majority of the public cannot afford to invest in
a piece of art from the secondary market.The social impact of a work of art is strongest
when it evokes a reaction or opinion from an audience; which is in turn is
discussed creating social interaction. By discussing a piece of work people are
directly communicating with each other, it challenges people to see the deeper
meaning and express what they see and why.
“Everyone in the company had an opinion...
everyone spoke up, and the effect on the moral was great” (Findlay, 2012,
Pp 65 & 66).
Moreover, social interaction in turn creates further
social impact, both direct and indirect. Direct social impact is further
defined in ‘Measuring the economic and social impact of the arts: a review’ By
Michael Reeves
‘Direct social Impacts... ‘elevate’ people's
thinking and contribute positively to their psychological and social well-being
and enhance their sensitivity.’ (Reeves – 2013)
According to this definition, viewing
aesthetically engaging work and discussing your opinions, results in a better
state of mind and an enhanced understanding of the subject. Moreover, indirect
social impact inspires “creativity” and “Enhances innovation”. When assessing
the two works of art all social impacts will be assessed.
Graphic design also has social impact, a well-produced
poster can evoke a reaction from the public, in turn creating a discussion
about the graphics or the product advertised. However, graphic design also
interacts with the audience directly, providing people with helpful information
communicated in an understandable way.
“Graphic design can help the world: When we are
providing information, we are hopefully enlightening others; when we are providing
directions , we are helping people find their way through the world; and even
when we are selling widgets, we are boosting the economy”. (Holland, 2001,
P125)
However, the strongest pieces of work will bring
people together socially, whether they agree a fine painting is beautiful, or
are moved by the message communicated by a graphic poster. For a more accurate comparison
of social value, a renowned piece of work from each subject needs to be
selected, and their values assessed and compared. Therefore, the essay will
focus on the piece ‘The Physical Impossibility of Death in the Mind of Somebody
Living’ by artist Damien Hirst, and ‘Beat the Whites with the Red Wedge’ by Russian
constructivist El Lissitzky.
Damien Hirst is a famous British conceptual
artist and art collector who for the past decade has been producing massively
publicised and debated artwork. His piece ‘The Physical Impossibility of Death
in the Mind of Somebody Living’ featured a thirteen-foot long tiger shark
suspended in a formaldehyde filled vitrine. The shark belongs to Hirst’s controversial series
‘Natural History’, which consisted of a range of animals and fish suspended in
formaldehyde. Some of the animals were dissected, which for members of the
public unfamiliar with contemporary art, would have been a shocking sight. Creates
in 1991, the piece became somewhat of an icon for Hirst and is described as
“his most famous series”. (Hirst, 2013)
Hirst’s idea was financially supported
by Charles Saatchi who commissioned £50,000 to cover the sharks shipping costs from
Australia, and the formaldehyde preservation process. The piece was eventually
sold to Steven Cohen, a wealthy American business man, the price paid is
undisclosed but is it rumoured to be between 8-12 million pounds;
“Several New York media reported that the only other firm offer aside
from that made by Tate Modern came from Cohen, and that the actual selling
price was $8m. New York magazine reported $13m. But the $12m figure was the
most widely cited” (The Independent, 2013)
A tremendous profit was made from the
piece, the sale of which is another shining example of the financial elite
investing in art. Additionally, Hirst is also involved in the high culture
surrounding art, he profits massively from his work and is the world’s richest
living artist; “Hirst is not only the world's
richest artist, but a transformative figure who can be assured of his place in
history”. [Kunzru 2013] Hirst’s financial gain is the result of his
connections to the art world and his target audience. As his pieces are worth
so much money, they are not made with a public audience in mind, but instead
tailored to suit the minority who can afford to invest. The only reason Hirst
pieces have any social impact is because of the media attention his pieces get,
and because of the gallery exposure they undergo.
Due to the exposure of the sculpture
from the press, the shocking nature of the piece was introduced to the majority
of the public, causing debate and controversy. Firstly, a tiger shark is a
creature that most English people would never encounter. Therefore, seeing the
real thing, motionless and only a few inches from your face would have been a
daunting yet exciting experience. It is here that we see the social impact of
Hirst’s piece, as its controversial content caused members of the public to socially
interact and voice their opinions regarding the piece.
El Lissitzky was a Russian
constructivist, known for his simple use of geometric forms and innovative
photomontages. Contrasting the beliefs of conceptual artists such as Hirst the
constructivism movement emerged in soviet Russia in 1913 with the belief that
art should “reflect upon and contribute to society in some way” (Gerber,
2010, p40). The belief that art should help better society explains the
constructivist involvement in the Russian revolution. Propaganda posters were
produced to communicate various messages, such as political messages, to boost
public moral and recruit for the revolution. The idea of social betterment turned
Lissitzky’s attention to propaganda, which is when he created the piece that is
defined as his most important work, ‘Beat the Whites with the Red Wedge’.
The poster was aimed at the common
people of Russia, which caused two problems for Lissitzky. Firstly, “many of
those in the targeted communities were illiterate” (Gerber, 2010, p24),
therefore the message would have to be communicated using little or no text.
Secondly, the message would have to be distributed to the masses, so the form
that work took also had to be carefully considered. Here we see a fundamental
difference between the two artists, Hirst creates his work for a select group
of people in order to gain profit whereas Lissitzky revises every element of
his work so it is suitable for his target audience.
Lissitzky’s poster was designed for
the common people of Russia, and therefore relied heavily on shapes to communicate
its message. The large triangle grabs the audience’s attention immediately due
to its strong red colour. Red is also the colour associated with the
revolution, contrasting this is the white which is the colour associated with
the opposition forces. The triangle is shown to be piercing deep into the white
circle, a representation of the power the revolutionary movement had over the
monarchy. As the message had to be distributed to a large audience Lissitzky’s
work often took the form of a poster, this enabled the message to be
distributed and displayed publicly.
The poster would have had massive
social impact, not only were Lissitzky’s posters aesthetically engaging, they
also distributed important messages to communities that would otherwise have
been unable to receive the information. Moreover, in a time of desperation,
where education is unavailable and money is short, forms of art and visual
communication would have been virtually inaccessible. Therefore, seeing a
visually appealing piece would cause direct social impact and lift people’s
moral.
To conclude, the commercial value of
art is assessed by various factors such as quality and condition. However,
works of art such as Damien Hirst’s ‘The Physical Impossibility of Death in
the Mind of Somebody Living’ still sell for a tremendous amount, despite the
artist having little or no input in its creation. This is due to the financial
elite who invest money into art as a safeguard for their fortunes and a
signifier of power. Contrasting this, graphic design is often freely available,
its a form of visual communication for the masses. In terms of commercial value
art undoubtedly has more. However, this is of no commercial benefit to the
public and only profits wealthy collectors.
Moreover, the social value is easier to compare, it
is strongest when a piece of work evokes social interaction. El Lissitzky created
his propaganda poster ‘Beat the Whites with the Red Wedge’ for the common
people of Russia, every aspect was designed with that specific audience in mind.
Therefore, it has social value as it informs, educates and causes people to
interact with one another. In a time of desperation, Lissitzky’s poster gave
hope. Moreover, Hirst’s piece, the physical impossibility of death, also has
social value. Its controversial nature causes discussions and disagreements
between art critics and the public alike. Both subjects have the opportunity for works
to have massive social impact, it is achieved through the content and message
of the work. Therefore, despite the obvious difference in commercial value,
other values are equal.
Word Count - 3, 276
REFERENCING
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(2010) ‘Graphic Design, The 50 most influential graphic designers in the world’
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