How to unleash the artist

[Grigory]

Сообщение от U_Z

We have with Cyril in an intellectual debate to discuss the place of the artist and his immediate prospects for artrynke. Also it seemed to me that we were extremely careful in their assessments.

And here is the answer to your question:

Сообщение от LCR

I think that your message was removed with Cyril from the fact that they, among others, were in the middle of Pavlik's invective against all and everyone, do not worry (I also cleaned up a bit)

I tried to separate flies from cutlets, but this has not always been able to ...

[spigo]

In my diary.

[Peter]

Today was a beautiful exhibition at the Ivan Pohitonova in Tretyakovke.Zdes I do not want to discuss magnificence Pohitonovskih miniatures, conquering France and Belgium in the 19 th century, and under-appreciated "peredvizhnecheskoy" Rossii.Na exhibition demonstrated the artist's letter to Tretyakov, which I hope will be interesting to many people. "August 30, 1896." Dear Pavel, September 1, new style, I have sent in your name to Moscow five boxes containing twenty small Pano of my work, now, I am sending you newsletters and leaves with the names, numbers corresponding to the same property at Pano and under, and the price charged against each nih.Tseny I appointed for the convenience of in rubles and how to see a very modest: it is far less than half what I sold my paintings to date vremeni.Delayu I am is because I- would like to have in your galleries greatest possible number of my rabot.A so, as the purchase is taken into account not only the artistic merit things but its cost, and I appreciated them probably cheap. sell things still need to, it is better to do the same this is for galleries and so that-would not shoot down their prices rynke.S Parisian art dealer in Paris, I still did not get along, hold on, and yield only in extreme sluchae.Nechego and say that I'll be very glad if you send things you enjoy and you leave them behind me, but I repeat again, Pavel, my request, absolutely not shy in that case, if you please find something improper acquisition of one or the other thing, or even all of them ogulom.Vy me great favor if you please on how to parcel came and how you found my work, and yet I beg to convey my humblest bow your whole family and I remain deeply respects you Pokhitonov I. ... "

[Yurko]

Ladies and gentlemen, would be very pleased to meet you and get intreguyuschuyu information about the hyping of the artist as a priority by yavlyaetsya schedule as a base (for example: watercolor, pencil, applique, etc.), examples of what is used in terms of art-marketing ... because this kind of work on my provincial view is not particularly popular, especially among the contemporary art .. would like to know the views among the major professianalov megacentres. What kind of "movement" is on your mind to take to achieve, so to speak, the greatest success in advancing the work on the art market is a realistic (classical) directions? Sincerely Yurko.

[noart]

<!--~ ~--><!--~ 1 12 ~ - "Promotion of the artist is very thin occupation. Now try to separate * * chops from flies. I always write and I mean our domestic arts with 90x's to the present day. Our contemporary art (mean Russia and Ukraine) is the curve of his way. And as we understand, there is a market and domestic market of the world. So the market can break the world, but you need to do many things to pass. The modern world of public relations (or PR) take on the character of universal use. Have not been without his attention and the market of Fine Arts. Unfortunately, many of the tools and techniques that are used by participants of the art market, poorly thought out and developed, because used mostly intuitively, unconsciously and spontaneously. However, it is this market is a huge field for PR. Here the imagination a professional practice is not limited by anything, especially if we talk about the rich galleries and artists who are not so little in this market, although perhaps not all PR tools applicable to this market, because of its specificity.
In this paper we attempt to systematize the idea of the art market in terms of visual arts, to describe the key actors and the types of market participation, as well as to identify those elements of public relations that exist and are used by the authors for their recognition, please use these elements and how they impact on target groups. The same with the proviso that we as the main object of the sale will be considered beautiful painting, drawing, watercolors, photography, etc.
Separately costing the consumer group (which is also and active participant, a factor in the market) - it is dealers who see art as a business tool for comfortable existence. They can affect demand, and making buzz around the artist, or group of artists, or vice versa to displace the periphery of the market.
Let's start with the fact that for instance - only in New York 80 000 artists. A place in the history of all 30. The level of competition is very high .. The same is true in Moscow, I will not give the order sought art (but so far only on the domestic Russian market)
Regarding technology and strategies for a name, you must remember the specificity of the market. In general, art - not the technology, and then how many artists are as many strategies. And to be frank there, in the West who are not waiting for our contemporary artists, and are only waiting for those who spend fabulous sums on all Hirst - Koons.
Also important that the West feels fine product that can be profitable. Because when a price tag of his things, then evaluate the chances of an artist to get into the history of art. If it only copies what has already been immortalized, he has no chance. Why, for example, the majority of those who consider themselves "Russian realists, do not qualify for a place in history? Because there already Levitan and Repin. The modern "realists" have no chance.

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Often, all that is now offered by domestic dealers has a secondary and borrowed ideas.
Trend of novelty - a trend, relevance. Being in the trend is extremely important. In this sense, we can imagine a genius artist living in the province that is not connected to this power, to communicate with galleries, blindfolded, in turn, with the curators of museums as institutions that are, in fact, open the door to history. So this genius does not work, because the issues which it is engaged, for contemporary art does not exist. Critics of some of our countries, it is a secretive, it is absolutely wrong
To highlight the artistic masses, some artists use different tools, there are art. forum in which to conduct so-called marketing of the artist.
Integral tool is, of course, PR-technologies. When used correctly, this mechanism can achieve great results. The only problem is that in Russia and Ukraine do not have those critics and art historians whose findings can be heard and perceived in the world.
Gallery, working with the artist. Their peculiarity lies in the fact that they collect the works of artists and are engaged in their implementation. And the task gallerist - to stop the viewer's attention to his gallery, exhibition, artist, name. The success of the gallery in the first place depends on the personality of the gallery owner, his involvement, creativity, sociability, creativity and, of course, influence. Here again a stalemate - we have no such galleries - ((
Reality, however, still shows the unpopularity and the insignificance of tools PR. Authors of the market operate more intuitively, by instinct, that is not competitive in comparison with well-organized PR-campaign in the west. Indeed, our galleries and artists participating in exhibitions abroad, where they lose their colleagues. And the international exhibition, initiated by Russian organizers (same "Art-Moscow" and "Art-Manege"), can not compete with the quality of the organization's image and foreign international exhibitions such as ARCO, ART-Miami, etc., which undermines image of the country. We must give a report that the art market operates on three rules: Institute for the right price, the institution and the institution of investment liquidity.
Many of our dealers do not know the rules of the game world and act on their not always correct schemes.
In principle, everything here is clear - the first so to speak of art galleries movement arose in Moscow since 1989.
Prices for our artists at much lower prices than their counterparts in the West.
Why? ----- At the western buyer has no confidence to buy the product
Today we have a space at the former Union of approximately one million people who call themselves artists. And if you lead a so-called Russian top
AES + F
Alexander Vinogradov
Vladimir Dubosarsky
Constantine Astrologer
Anatoly Osmolovsky
Paul Pepperstein
Avdei Ter-Oganyan
David Ter-Oganyan
Vladislav Mamyshev Monroe
And in Ukraine
Alexander Roitburd
Basil Tsagolov
Arsen Savadov
Vlada Ralko
Ilya Chichkan
Oleg Tistol
Pavel Makov
Oksana Mach
Maxim Maximov
Many of them or anyone of them operates with a respectable galleries retile price? Unfortunately this is very bad that our artist has one field for the implementation itself - this is the domestic market.
But I believe that the Russian market for blank walls are better today in the world. Russian love to spend money, they need only to explain what is to spend it.
But the dealer should know exactly what he wants from the untwisted artist. If the grass-roots concerns of commercial art, which is quite spontaneously - someone draw something, leaned against the fence, sold. Or in the gallery of the same poshiba brought there the same price - buy it just to hang himself in the house. Well liked, what - does not matter.
You must understand that the Mass to modern art there.
Now to go back to critics. In the major Western newspapers critics, who are highly paid, give its assessment of the artistic things, galleries, they are printed over the years, they know, and it is believed that if the critic said - go for it. We have this mechanism was not even designed. Newspaper critic - ernichestvo, and besides, they are very small fees for articles, which are subject only to amuse themselves and others.
We are all different - Writing criticism of money, pathetic fee paid by the newspaper. Say - dear comrade, write a normal article, review custom, cultural story. They worked off the money and Dooloo to the end.
But you are a real loss. Since this article does not have, not what both the inhabitants within the country. Our critics do not who do not know and could not hear - it means they have no real weight.
People should be responsible for what they do and they should be interested in our work financially. All modern critics are closed themselves to themselves, the problem of the art market for them there, they are above it.
It is necessary to take into account that our audience question about the prices - closed. They do not know what is modern art, and, of course, do not know the price of it
And there was one moment - one period, a year or two banks are actively buying contemporary art, without haggling. And while contemporary art was a smell of big business. And it was important for the formation of consciousness.
People began to realize that to pay 10 thousand for contemporary work - fine. There was a sense of well-being, gallery work, the artists are sold, but the euphoria did not last long.
Now many of Moscow galleries have plunged into the reality and understand - that all - garbage, but not modern art.
Most galleries do not rush for big money, so you should focus on advanced ultra-modern image, with the Western way of work.

I have my own real concept roll out of a talented artist, and I would not want to do it publicly.

Posted 18 minutes

Сообщение от Cyril Syzranskiy

easy to say "in general" and not about anything, but if you want to understand you, give authors, name of artists.
Gallery is working with various artists.
For someone ferrule-Bulatov, Nemukhin, Unknown, Steinberg, Chuikov, Nesterova, juices, Shemyakin, for example, for someone-Koshlyakov, Albert, Zvezdochetov, Vinogradov /Dubosarskiy, Zakharov, Shutov ...
And someone very young and all of these works considers waste clip.
And there are "old" realist, "surovostiltsy" ...
Check out the list of sponsors Sovkoma, there will be living with a third, and I think a lot of first names in his "directions /manifestations".
And all this "modern art" is called in order to emphasize that the authors are alive and our contemporaries, but someone "sovriskom" only aktualschikov calls, "Contemporary", for them and Kulik is a classic.
Go and reading all ...
Names it is better to call.

Do not have time to name names.

[Вивьен]

Сообщение от noart

I have my own real concept roll out of a talented artist, and I would not want to do it publicly.

And rightly

[Кирилл Сызранский]

Сообщение от noart

Russian top
AES + F
Alexander Vinogradov
Vladimir Dubosarsky
Constantine Astrologer
Anatoly Osmolovsky
Paul Pepperstein
Avdei Ter-Oganyan
David Ter-Oganyan
Vladislav Mamyshev Monroe

This Russian top?

[noart]

Сообщение от Cyril Syzranskiy

This is Russian top?

I mean modern art. There are names, but I will not remove them all. Enough to those that led to his post.

[Кирилл Сызранский]

Сообщение от noart

enough to those that resulted in his first post.

Enough for what?
Actually, I have lost the thread of the discussion is no longer interesting ...

Сообщение от noart

Now, many of Moscow galleries have plunged into reality and realized - that all - garbage, rather than contemporary art.

I will say one thing.
The things you mentioned rossiiyskih authors, not musort and costly every year more and more. Have you ever order the prices of things these authors know? Order, order, not the price?
That is the reality, and all those blah-blah-blah on the forums in the topic of promotion, and even with his "secret plan", it's all garbage, just to name possible.

[Marta]

I think it is much easier to sell paintings in Europe than to break into the inner, which is almost nowhere to be found.

Сообщение от noart

Unfortunately this is very bad that our artist has one field for the realization of itself - it is the domestic market.

Could you explain what is bad (if it was the domestic market)? Bad for the artist or bad for the growth in prices for the product? I sincerely do not understand, because from my point of view - it is not bad, if the work of artists mostly remain in their country.