5 Answers

  1. To paraphrase Jerry Saltz — an artist needs only one dealer and two collectors for financial recognition; dozens of colleagues are needed for artistic recognition.

    Strictly speaking, even market recognition is more dependent on other artists: Basquiat reached out to Zwirner through Warhol, Pollock reached out to Matter through Lee Krasner, and so on. Not to mention the fact that pre-Raphaelites, Impressionists, Abexers, pop artists, early avant-garde artists, and others all knew each other personally, and many of them almost lived on the same street. At any point in history, any artistic social network looks like this:

    The reason for this lies in the very mechanism of the existence of ideas and is well explored in cultural anthropology (for example, in Henrich's “Secret of Our Success”): the constant exchange of techniques and ideas leads to better, more complex works.

    That is why the lion's share of the art infrastructure-residences, open studios, workshops, etc. – is aimed precisely at introducing everyone to everyone. Artists with artists-mostly. There aren't many others, and they're all familiar.

    By the way, this also includes gallery openings. Galleries don't sell works either at openings or exhibitions, they sell behind closed doors, and exhibitions are often sold out before they open. Discoveries are a kind of pro-social payoff, as is the publicity of exhibitions as such.

    Not to mention that it's just nice to talk to people who understand what you're talking about.

  2. Incredibly important, but… And these” buts ” are so many that they may outweigh all this importance. I agree that in history artists have always founded associations, and these groups could be linked by some name and ideology (like Peredvizhniki, miriskusniki, etc.), or they could just cluster together on the principle of parochialness, uniting around one cafe, museum, or exhibition hall. After all, nothing unites you more than an epoch. Looking back, we see Paris in the 1910s or St. Petersburg in the 1920s as a single artistic organism in which different artists brew, exchanging ideas and cross-pollinating each other. At the same time, some may keep more apart, others may be in the center of the party, but in fact none of them is alone.

    Today's time has also brought this party to online, social networks, Facebook groups, blogs and Instagram. But personal communication is still the most important thing. Therefore, you can start online, but you need to continue offline. For me, it was very important to attend meetings and lectures with artists who are developing in an interesting direction for me (book graphics, comics). Such meetings have given me more than dozens of books I've read. And the acquaintances made there grew into personal communication and support for my own project.

    My search scheme was as follows: subscribe to interesting accounts, groups and artists personally, track offline events and meetings (joint drawing, lecture, master class), attend, communicate with speakers and other participants, and maintain these contacts.

    Therefore, look for a breeding ground for yourself, there are really a lot of opportunities right now.

  3. It would be incredibly important if art were turned into a sport where everyone is competing for the same really big awards. And since this is not yet available, you can not contact other artists if it is unpleasant for you)))))

  4. For an artist (if he lives by selling his works), it is much more important to contact art dealers, gallery owners, curators, critics, and collectors.

    And with artists – �exclusively at will. All the latest developments in the field of art and interpretation of works can be found even without personal contact with their authors. Large art associations are not very popular right now, almost no one groups up like peredvizhniki or miriskusniki… Contacts may be necessary only for the purpose of stirring up a one-time joint project…

  5. Important, the answers above are exhaustive, but I want to share my personal experiences. From the point of view of the artistic process, qualitative change. Again, who to communicate with, what mental characteristics will this or that creative person have. An artist should be objectively stewed in his own juice, know his own party, understand and evaluate his skills. In the end, have support or equally useful criticism. I would also add that it is important for an artist to get in touch with philosophers, psychologists, and writers.

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