How art gets generated.
The article below tackles the quandry of a genre of artists who have been sidelined, for the most part, by mainstream art: performance artists. The work is temporal, sometimes space-specific, and nothing a buyer can take home and set in the corner – you’d need to feed your performance artist, after all. Most performance artists sustain themselves through teaching, and some are able to sell photographs of their performances, in an attempt to capture the performance as true to form as possible.
But this has always been a quandry that has managed to elude all but the most enterprising artists: how to get compensated fairly for ALL the work that is done. I would argue that artists, musicians, designers, follow the 9-5 world: be as productive as possible within roughly 40 hours a week, and that is that. If artists are to sustain themselves as artists, and not a moonlighter, it has to be treated like a job. Even international cult-eer Nick Cave wakes up in the morning, has breakfast, walks to a nearby rented storefront, unlocks the door, makes some coffee, and sits down at a desk with a typewriter, and bangs out lyrics and poems for 8 hours a day. At around 5:00pm, he wraps things up, turns off the lights, locks up, and walks back home to mow the lawn or sit on his porch eyeing people suspiciously, or whatever Nick Cave does in his free time.
Marina Abramovich’s $100,000 fee for The Artist Is Present, is still not enough, in my estimation. Abramovich is a performance art celebrity, and deserves to get paid like one.
Generator Arts is a staunch proponent of the arts – visual, fine, music, and fashion – being a true viable career option for future generations. For this to actually happen, there needs to be a multi-pronged approach, one prong being the strength of the artist themselves to value their time and their talent to command what they’re worth.