Artfacts.Net lecture in Berlin 21/1/11
One questions we always ask ourself when looking at our artist ranking is: "which of these artists will still be famous or well known in 200 years time." I think there's no doubt that artists like Andy Warhol or Pablo Picasso who are already art icons of the twentieth century will still be remembered in the future. But what happens with artists which are now in mid-career, who have won the Turner Prize or have had solo presentations at the Museum of Modern Art?
It's a hypothetical question. We will never see these times unless frozen nor can we say what will be the fashion or the taste of the future. But maybe our ranking can help lift the carpet a little by finding common patterns that allow us to predict the future performance of an artist today.
On the ocassion of the exhibition by Roland Schauls presented by Galerie Clairefontaine (please read below) at the Saarländische Gallery in Berlin Marek Claassen the director of Artfacts.Net and G. Beaudin, Media and Marketing Director of Artfacts.Net will hold a lecture named: "Economy of Fame - Art History or Principles of Displacement?", where they will discuss some of the questions that arise when talking about the artists' fame. What are the factors of fame and sustainability? What role do market, fashion and taste play to affect fame? Is it important to be part of a network to become famous?
We coordinately invite you to visit the lecture on the 21. of January at 7 pm (see location at googlemaps). The lecture will be in english. We hope to see you there.
About Roland Schauls:
Between 1995 and 1998, the Luxembourg artist Roland Schauls set himself an unusual task. 504 artistic personalities, selected from the world’s largest and most important collection of self-portraits at the Uffizi Gallery in Florence, provided him with the model for a large-scale tribute to the history of Western painting.
Given equal weight in the collection of 504 individual panels, their fame or failure are relativised. Highly-esteemed artists such as Dürer, Rembrandt, Rubens, Velasquez or Delacroix appear in 100 sqm. of exuberant confusion, no more or less prominent than their precursors, colleagues and successors who have since been forgotten.
Roland Schauls’s tableau of equals can be seen as a monumental tribute to his own brotherhood, a kind of memorial to those who are mostly unknown today, illuminating as much as it counteracts the historical and contemporary exclusion strategies of the art and academic establishments. It is the ironic and yet revealing manifestation of an artist who knows all about the market’s dubious star-making machinery, and the cult of genius that history has passed down to us. The artificiality of both the ascent from and the sinking into obscurity, into ahistoricity and thus into namelessness, is easier for us to appreciate through the rigorous structure of an impenetrable kind of order.
However, behind every physiognomy there is an artistic personality who was highly thought-of in their own time, and valued for their skill as a painter – a landscape artist, a portrait painter, a painter of historical subjects or of still lifes, and therefore the creator of a commendable lifetime’s achievement, averaging over 300 works each.
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