The art world is currently vibrating with a tension that threatens to crack its very foundation. As the 2026 Venice Biennale approaches, we find ourselves at a crossroads, trapped between the institutional weight of national pavilions and the individual integrity of the artist.

​With jury resignations, funding threats, and heated debates over which flags are “worthy” of flying in Venice, the dialogue has shifted from the canvas to the boardroom, and from the aesthetic to the geopolitical.

​Recently, I’ve been engaged in a rigorous debate with colleagues regarding these boycotts. It has forced me to look at this chaos through the lens of my movement, Roundism, to see if we can find a path back to coherence.

​The Institutional Argument: Art as a State Asset

​The argument for exclusion is often rooted in the “Institutional Frame.” Critics argue that because the Venice Biennale is structured around National Pavilions, the art within them is inherently a diplomatic asset. They suggest that:

• ​The Pavilion is the State: Therefore, keeping a pavilion open for a nation involved in conflict is seen as a silent endorsement of that state’s actions.

• ​Economic Accountability: Boycotts and funding withdrawals are used as the only “levers” available to the art community to show moral disapproval.

​While I understand the emotional weight of these arguments, I believe they rely on a worldview of fragmentation, the very thing Roundism art movement seeks to heal.

​The Roundism Perspective: Ordering the Chaos of Art Diplomacy

​In my studio, I utilize my neurodivergence as a creative engine to see geometry and order where others see only noise. When I look at the Venice Biennale 2026 crisis, I apply the three pillars of Roundism Art Movement:

​1. Coherence vs. Political Fragmentation

Politics is the art of drawing lines. It is the definition of fragmentation, similar to the sharp, broken edges of Cubism. Roundism, however, is a visual methodology for achieving unity. When we exclude an artist based on their passport, we are adding another sharp edge to a world already cutting itself to pieces. We must strive for coherence, a networking of forms where the human experience remains unbroken regardless of borders.

​2. Kinetic Vessel and the Infinite Loop in art diplomacy

I view art as a Kinetic Vessel, an active trap for energy and attention. It is designed to capture the chaos of the world, circulate it, and release it as a purified, stronger clarity.

When an institution shuts down a pavilion, they aren’t just punishing a state, they are breaking the vessel. They are stopping the circulation of the very dialogue that could lead to a wider understanding. This is art diplomacy.

​3. Pursuit of the Edgeless Ideal in International Art

Humans, and the governments they form, are inherently organic and imperfect. However, art represents our intent toward perfection. My work is also a search for the “edgeless ideal,” a geometric truth that transcends chaotic reality.

Our global art stages should be the physical manifestation of that edgeless ideal, a space where no one is “cut off” and the focus remains on the work, not the identity of the person who created it.

This too helps with art diplomacy. But unfortunately that's not the case and may never happen in current human systems we live in.

​Danger of Collective Punishment

​We are witnessing what I can only describe as a modern witch hunt in the art world not unlike the #metoo movement. Metoo movement had important points for women’s rights but did it in such a way as to forget about due process and just do collective judgement and collective execution. Not unlike the public hangings in the middle ages. This in turn damaged the reputations of innocent people. If we begin judging passports instead of art then we are engaging in collective punishment of countries or artists that belong to those countries.

“If the Biennale started selecting works [on the basis of] passports, it would cease to be what it has always been: the place where the world comes together.” - 2026 Venice Biennale president Pietrangelo Buttafuoco.

In the same address, Pietrangelo further defended the Biennale institution’s independence from geopolitical censorship with these additional remarks:

• “We select works, not passports.”

• “This is not a court of law. It is a garden of peace.”

• “The only veto is pre-emptive exclusion.”

• “Art must not exclude anyone.”

• “We do not intend to trade, for the sake of a quiet political life, 130 years of history that have always told the world this way.”

President of the Italian Republic Sergio Mattarella, he said something important about the cultural boundaries that art should embody, he said: “Art is not a tribunal”.

History is a messy, organic timeline. If we were to look back over the 131-year history of the Biennale, almost every participating nation has had chapters of history they are not proud of. If moral purity was the metric for entry, the Giardini would be an empty forest and the Arsenale would be a ghost hall.

​Art should be a sanctuary, an independent space where we fight our wars with points of view rather than weapons. We can call this art diplomacy. When we allow politically driven decisions to dictate the guest list, we lose the only Infinite Loop of communication we have left.

​ The arguments

The Italian government and European Commission have increased the pressure by threatening to pull funding, effectively treating the Biennale as a diplomatic instrument rather than a purely artistic one. Is it a good idea to affect the integrity of this event for a very long time political score pointing? Below are the arguments out there for and against.

Arguments for Exclusion from Biennale

Accountability: Proponents argue that state-sponsored pavilions are "soft power" tools used to whitewash war crimes and should not be treated as neutral.

ICC Standards: The jury cited international law, arguing that rewarding states whose leaders face war crimes charges violates the Biennale's commitment to human rights.

Arguments for Inclusion from Biennale

Universalism: Organisers like President Buttafuoco argue that judging "passports instead of art" destroys the Biennale's essence as a global meeting place.

Selectivity: Critics (including the Israeli artist Ruth Patir) have called these specific bans "discriminatory," noting that many participating nations have past or present human rights issues.

A Call for Independent Art

​I am not suggesting we ignore the world’s pain. Quite the opposite. I am suggesting that art is the only tool we have that is strong enough to hold that pain as the artist wants to without breaking established platform for political pressure or point scoring.

​We must protect the independence of the artistic space. We must allow the “round” to encompass all of us, even when it is difficult. Because if we lose the ability to see each other through our art, we have truly lost our way. When that happens we start to go towards Owrellian 1984 world without art at all.

Questions for comment:

• I am curious to hear from my fellow artists, critics and curators: Should the institutional frame of a "National Pavilion" always be tied to the actions of a state, or can we allow the art to stand on its own merit?

• Should art be a tool for state accountability, or a universal sanctuary for connection?

Keep creating,

Michal Plis

References

References & Further Reading below.

• The Observer: Pietrangelo Buttafuoco: The conservative intellectual at the heart of Venice’s Biennale storm: https://observer.co.uk/news/profile/article/pietrangelo-buttafuoco-the-conservative-intellectual-at-the-heart-of-venices-biennale-storm

• Italian Facts: Venice Biennale 2026 between art and tensions: Buttafuoco relaunches “freedom and audacity”: https://www.italianfacts.com/en/art-6665-venice-biennale-2026-between-art-and-tensions

On the Institutional Argument (Art as a State Asset & Boycotts):

• The Concept of "Soft Power" in Cultural Diplomacy: Reference: Joseph S. Nye Jr.'s foundational concept on how nations use culture to build influence. URL: https://foreignpolicy.com/1990/09/01/soft-power-foreign-policy-magazine-joseph-nye/

• Woodrow Wilson Center: Soft Power Foreign Policy Jospeh S. Nye Jr. Full text PDF: https://share.google/3KsXcC4VCYONomsxo

• The 2022 Russian Pavilion Resignations: Reference: A modern precedent of artists withdrawing to hold a state accountable, effectively shutting down their own national pavilion. URL: https://www.artforum.com/news/russian-pavilion-artists-and-curator-resign-from-venice-biennale-252441/

• The "Art Not Genocide Alliance" (ANGA) 2024 Petitions: Reference: The open letter signed by thousands of cultural workers demanding the exclusion of national pavilions based on state actions. URL: https://hyperallergic.com/4000-art-workers-call-for-israel-exclusion-from-the-venice-biennale/

• Institutional Critique: Reference: An overview of the art movement that questions the political and economic structures of art institutions. URL: https://www.tate.org.uk/art/art-terms/i/institutional-critique

On the Roundism Perspective (Art as a Universal Sanctuary):

• The Danger of Passport-Based Censorship: Reference: The PEN International Charter, which strictly advocates that literature and art must remain a common currency among people despite political upheavals. URL: https://www.pen-international.org/who-we-are/the-pen-charter Select About us > Who we are then select Read PEN Charter

• The 1968 Venice Biennale Protests: Reference: Historical context on when political unrest forced the Biennale to reconsider its institutional structure and refocus on individual artistic voices. URL: https://www.labiennale.org/en/history-biennale-arte

• The Biennale as a Space of Dialogue (Curatorial Precedents): Reference: Adriano Pedrosa’s curatorial statement for the 2024 Biennale, emphasizing the inclusion of marginalized or displaced voices across borders. URL: https://www.labiennale.org/en/art/2024/statement-adriano-pedrosa

• Cultural Diplomacy and "Track II Diplomacy": Reference: The United States Institute of Peace definition of non-governmental, informal interactions (like art) used to maintain human connection when official state relations break down. “The Role of Cultural Diplomacy in Strengthening Soft Power in a Globalized World” URL: https://uscpublicdiplomacy.org/blog/role-cultural-diplomacy-strengthening-soft-power-globalized-world

• Track Diplomacy: From a Track Perspective - MIT Press Direct - PDF: https://share.google/eJeEOqeWkngHRRlWb

The trip was long, flying to the capital city on the main island and then taking a few ferries between islands to get to this remote destination. It was worth it, though, because I simply needed to get away from people. 

Funnily enough, people followed me everywhere. I don't know why but I guess when you travel you meet people too. When I was on the plane between Melbourne and Tahiti, I got to talk to an elderly man who told me about a strange island he came across just outside the French Polynesian chain of Islands in the Marquesas Islands that's constantly obscured with clouds. He said he had heard stories but everyone has been afraid to visit it. I got intrigued, and thought it might be good to visit it. 

One problem, though: the Marquesas Islands are only accessible by ship. When arriving in Tahiti I asked some of the locals how to get to Marquesas Islands. One local said to use a ship called Aranui 5 from the Port of Papeete in Tahiti. I first decided to stay at least one night to enjoy Tahiti at a local Airbnb superhost. 

I stayed by a secluded beach. The host lent me snorkel, mask and fins which I used to free dive. The corals were more beautiful than the beach itself. After this tiring day I found a small seafood place right on the beach. I feasted on a seafood basket while drinking a cold hefe wheat beer. As I was eating, I watched a huge orange sun, slowly dip into the sea as I listened to Tahitian music in the background. At night I went for a walk on the beach to think about tomorrows adventure, as to what I may find. That night I had a puzzling dream.

After waking up the next day, it was particularly sunny and there were sporadic storm clouds in the distance. After catching that ferry, it went past each island after the next, almost in a row and each of them had unique physical features. Some had mountains. Some had just trees and some a bit of both. The ferry finally took me to the small remote island. When I saw it in the distance it was the last in the island chain and the furthest away from all the others. I think no one paid attention to it, especially when it was usually covered almost completely with clouds right down to the water. We would not have found it, but I saw one of the clouds covering the island all of a sudden open up and reveal a beach as well as a part of the island. It was a small island and there was nothing anyone did on that island apparently. It's as if I just found something that normally feels to the locals as invisible. In fact, some people on the ship said to me to stay away from that island and they seemed afraid. I was however amazed and intrigued even more!

From the glimpses between its cover clouds, I noticed the island had a chain of mountains and deep forest with some waterfalls, as well as beautiful sandy beach. Perhaps the whole island was surrounded by such a beautiful beach all around. I didn't have a clue at the time. From a far distance I realised that the boat had to get to a certain depth and couldn't go further. There were large coral formations that we saw through very crystal clear water and we saw how shallow it was getting. The only option was for me to jump overboard and swim with my backpack. Unfortunately everything in the backpack got wet. 

The island didn't have a pier to dock next to either. At this point I got a little bit scared because swimming through these waters I thought there might be a shark. But through the clear water I saw that there weren't that many fish around at the time and the waves were pretty big, so I assumed there were no sharks. Going for it, I jumped in and started swimming like a fish scared to death, still fearing the possibility of getting attacked by something. Like clockwork every now and then there came behind me a huge wave that went over my head as I was swimming. I had to take in a deep breath each time to make sure I didn't drown. 

Finally exhausted from the swim I fell onto the beach and sort of lay down to catch my breath and gather my strength again. As I lay there, my beard sank into the wet soft sand, and all of a sudden, I started feeling something licking my eyes. I opened my eyes and realised there was a small dog that kind of resembled a Tahitian Dog. It had a long body, curly tail and a light brown coat. It was a short dog and it looked very lazy. I guess it got curious as to what this human was doing on this secluded beach on an island that everyone forgot. I thought these dogs were extinct but it looks like these dogs were still around on this island. I guess dogs are good judges of character because he decided he would tag along with me. I decided to call him Cappuccino or short Cappa because his light white brown fur reminded me of a cappuccino. 

Cappa and I started walking along the beach and my first priority was water and food. I jokingly asked Cappa: “You wouldn't happen to know where I can get some water, would you?” He sort of looked at me and he barked. Maybe he understood the basics of it so he started leading me into the forest. After walking about 10 minutes we arrived at a waterfall. It looked like running fresh water and from my survival learning I remembered that flowing water is quite safe. Along the creek where it was flowing I had a drink, which was really refreshing. Cappa decided it was important to have a drink as well just in case. 

Now I said to him “Thanks for the water Cappa. Do you happen to know where I could find some food like fruit?” He must have spoken to humans in the past because he sort of started walking in a different direction. I decided to follow him and he showed me inside the forest a little bit further down a whole lot of fruit trees that looked like mangoes, and all kinds of other food that looked familiar. I thought I'd be very careful because some tropical fruits can be poisonous. But I found some things I could eat and I started eating as I was hungry.

Now that the basics were sorted, I decided to walk along the beach to the other side of the island. In the middle of the island there was a large mountain that was hard to see across. I thought it might be good to see the lay of the land, as it were. I decided to walk around the islands beaches. It took me the better part of the day to get around the other side. Cappa was walking next to me, but he was also searching for all kinds of meaty foods. Along the way he was catching stuff out of the water like little fish and crustaceans and also eating bugs and occasionally chasing a turkey or some sort of a chicken. 

When I got to the other side, around a sharp bend, I saw a beach. What I saw next shocked me to the point that I fell to the sand and just gasped with my mouth open. 

What I saw was an island that was floating just above the shore of the beach of the island I was standing on. When Cappa saw the island floating he started barking and there was a bark from another dog on the island floating. Connecting to the island floating was a lot of tree roots that were sort of hanging over and touching the water. They were probably drinking it somehow. I just sat there for a while. I couldn't believe what I saw. 

After I composed my thoughts I thought why don't I check it out. I started climbing the large collection of tree roots in a bunch and Cappa jumped on my back and just held on with his nails on my shirt. But I had a feeling he was pretty good at climbing up those roots as the height was probably several metres high. At least 10 meters I think. Around the edge of the floating island there was a collection of clouds as if it was attached to the island. 

After a lot of effort climbing up as I'm not used to climbing up ropes I proceeded to grab onto the edge of the floating island and push myself up as if climbing out of a pool with Cappa on my shoulders. When we got to the top he just jumped off, and he ran off into the forest on the floating island. I said out loud to Cappa: “Where are you off to buddy?” Not realising it, he came back with a friend, a fellow Tahitian dog. It seems that they knew each other, maybe from a distance or he's been up there before. I'll never know. 

They both got excited and decided to nudge me with their noses so that I'd come to where they wanted to show me. As I started walking with them through the forest on the floating island, I realised there was an ancient construction. The buildings looked ancient and it was hard to tell based on its architecture what period of human history it was from. It had various square symbols in triangles on the stone work. A lot of the tree roots took over the stonework and it was very dark inside. But it felt like it was very dangerous. I don't know if I wanted to go there by myself. Strange sounds we're coming out of these buildings. Maybe some critters were roaming around.

I decided for now I'm going to find someone else to come with me so that we can explore this ancient building with some backup. I left the two dogs up there and decided to come down to the bottom island and build a raft to get back to the other Islands to get some people to come with me.

Then I climbed down the roots, and that evening I started building a basic craft from bamboo that were growing there and I made some rope from palm tree leaf strips. I went to sleep that night quite late and at night I heard the two dogs barking at me from the island floating. 

When I woke up briefly at night from the barks, I realised that the island started to disappear amongst the clouds. The next morning when I woke up I couldn't see the island anymore. I don't know where it went. I tried to look around where it was but I couldn't see it. I decided the best course of action would be to sail back to the main Island and find out more about this floating island whether it was ever seen in the past and try to uncover its secrets. 

I launched the raft with a makeshift oar and I proceeded to sail her as it was a fairly calm morning on the beach. I was able to break through the initial waves and then use the oar to sail to the larger Marquesas Islands where there were people. There was a beach tavern on the closest Marquesas island, and when I arrived during that day, I started asking the locals questions. Many told me of the tales of that island I discovered and what they saw when they were younger. But they were surprised that when I was there I saw a floating island. They said this rarely happens and this island appears but no one knows where it goes to. 

The mystery remains but my quest has not diminished. I am still intrigued by that floating island and the ancient building on it. Could this have been an ancient civilisation? Is this part of a chain of islands floating above but hidden from view? As I sat down in the evening sunset next to the tavern, drinking a cool coconut water drink with ice, I pondered if I would ever see that floating island again.

THE END. 

By Michal Plis

About My Dream Stories

This is a fictional short story based on my dream I had on the 24th of May, 2023. As soon as I wake up, I draw and write the dream into a notebook beside my bed so I can remember. This only happens rarely, as I have to be relaxed for weeks. I hope you enjoyed it. If it resonated with you, please share a comment below.

As an artist, I continually ask myself the questions: “What is Art?”, “What is arts essence?” and “Why do people need art in their lives?” In this article, I will dig deep into these fundamental art questions that, sadly, social algorithms and the commercial art world seem to be forgetting more and more.

Introduction

There is a growing trend in 2026 towards what many are calling a "Relational Renaissance" in the art world. For years, the focus has been on art as a digital asset or a speculative investment, but recent shifts show that people are becoming exhausted by the transactional nature of the industry.

Definition: The Relational Renaissance is a cultural movement where people are choosing deep, high-quality human presence over shallow digital interactions. It is the shift from just having connections (Relationship) to mastering the art of connecting (Relational)

Instead, we are seeing a powerful move toward localism and community-driven art. According to recent market reports and industry insiders, there is a renewed hunger for the "human touch", the physical studio visit, the story behind the canvas, and the raw, tactile experience of art that a screen simply cannot replicate.

​This trend isn't just a whim; it’s a response to a deeper human need. In a world increasingly dominated by AI-generated noise and disconnected social algorithms, we find ourselves yearning for something authentic.

This brings us back to our core question: What is art, it's essence and why do we need it?

If the current trend tells us anything, it's that art is a vital bridge to the reality of the world around us. It is a reflection of the intricate design found in nature’s creation, and we need it because it grounds us, providing a peaceful, meditative space that helps us reconnect with our humanity and with one another.

So let's dig into what is art and why do we need it especially now in this hyper brain overload period. As I've mentioned in a previous post it would be good to live in the age of discernment.

What is arts essence?

The answer to the question: What is the essence of art? Here is my answer in one sentence:

The essence of art is combining the invisible connections of human experience into something tangible that stirs the soul.

Of course there'll be many interpretations so it's hard to put it in one sentence, isn't it? But at least I gave it a go.

This idea that art is a conduit for the "unseen" is a concept shared by many notable thinkers throughout history. Leo Tolstoy, for instance, famously argued that the essence of art is "emotional infection", the ability of an artist to transmit a lived feeling so clearly that the viewer experiences it as their own.

Similarly, philosopher John Dewey postulated that art is not found in a static object on a wall, but in the active experience that occurs when a person engages with it. It is the moment where our senses and our environment reach a state of perfect, intentional harmony.

When we look at the complexity of the universe, from the mathematical precision of a spiral galaxy to the intricate biological patterns in nature, it becomes clear that humans possess an inherent "creative imperative" that mirrors a much larger, intelligent order.

The essence of art, therefore, is its ability to act as a silent, universal language. It allows us to take the abstract, often chaotic thoughts of the mind and anchor them into a physical form that honors the beauty and design we observe in the world around us. And it's not necessarily in a figurative way, As this can also be applied in purely abstract creations such as my own. In doing so, art doesn't just decorate a space; it validates our shared existence and provides a sense of grounding and purpose.

Okay, now that we've covered the subject of what is the essence of art now, let's ask the question. What is art.

What is art?

Then, what is art?

To me art is the expression of my soul (with my mind, heart and body) coming out to be shared in the visual form to the audience of humans and animals and extraterrestrial beings like the Creator of humans or other intelligent beings.

As an artist and an amateur scientist observing the universe, I cannot help but accept personally the existence of the Intelligent Creator. I accept that some readers of this article have different points of view about this, including the belief in evolution than creation. I respect your beliefs and opinions. And I hope that that you give me a chance to share what I believe through observation in nature. Many agree that the highly intelligent and intricate nature of the physical world begs to ask the question, is there intelligent design and artistry in it.

Another interpretation of what art is from a Canadian Psychologist Jordan Peterson who once said about art: “You can interpret it, and that’s helpful sometimes, just like movie criticism is helpful, but the dream is something that extends you beyond where you already are. That’s why it isn’t verbal thought, it’s something else. It’s like a pseudopod that’s going out into the unknown. That’s what art is”. And that's the big thought here that art art creates something new from the unknown from the subconscious from the things we don't see and brings it to the fore. And why does it stir emotion? And why does it stir thought?

Architecture of the Unknown

​Expanding on Jordan Peterson’s idea of the "pseudopod into the unknown," we can look toward the work of Carl Jung, who influenced much of that school of thought. Jung suggested that art often taps into the "collective unconscious", a reservoir of symbols and patterns shared by all humanity. When an artist creates, they aren't just rearranging colours; they are acting as a conduit for things that exist just beyond the reach of language.

This is why a piece of art can "stir the soul" without a single word being spoken. It reaches into the subconscious to pull out truths that our rational minds haven't yet categorized. It is, in a sense, a discovery process, a way of mapping the territory of the human spirit that science is still trying to understand.

Artistry of the Physical World

​As we look outward at the cosmos, the "artistry" we observe in nature often follows mathematical patterns that suggest a profound level of intentionality. For example, the Golden Ratio (\phi \approx 1.618) and Fibonacci sequences appear consistently in everything from the spiral of galaxies to the arrangement of seeds in a sunflower. From a purely scientific perspective, these are efficient biological and physical structures, but from an aesthetic one, they are masterpieces of art and design.

This inherent order suggests that the "Intelligent Creator" is the ultimate artist, using the laws of physics as a medium. When we create art, we are essentially trying to harmonize with these pre-existing patterns of beauty that were woven into the fabric of the universe long before we arrived.

Uniquely Human Resonance

​Philosophers like Roger Scruton have argued that our ability to appreciate beauty is what distinguishes the human experience from the rest of the biological world. While animals may respond to colours or sounds for survival or mating, humans are unique in our ability to find "disinterested interest" in beauty, the capacity to be moved by something simply because it is.

This resonance suggests that our minds are "tuned" to the frequency of the universe's design. We don’t just see a sunset; we feel its depth. We don’t just hear a frequency; we experience a melody. This unique human capacity is a bridge; it connects our physical bodies to a higher plane of consciousness and points toward a purpose that transcends simple survival.

So thus humans have the ability to appreciate art far more than any other creature on this planet. And that in itself is an important thought that leads to the next question: Why do we need art in our lives?

Why do we need art in our lives?

Here is an approximation of an answer from me: I think without art in our lives we would have boring lives and we would not be able to search into the hidden of the soul, so I think it's important that every person has artworks in their homes, whether they're paintings or sculptures or something else. These help connect us into the hidden or the transcendent or the unknown.

The Canadian Psychologist Jordan Peterson once shared a story in his Biblical Series X: Abraham Father of Nations that echoes this need.

He described standing in a "shrine-like" room at a museum in New York, surrounded by priceless Renaissance paintings and a crowd of people gazing in wonder:

“At the modern art museum of art and in New York. I'm afraid. I don't remember which one unfortunately, but I was in this amazing room, you know, it had all these priceless paintings from the late Renaissance hanging in it, you know, each painting worth, who knows a billion dollars. Maybe priceless. So the room was a shrine and it was full of people from all over the world who were looking at these paintings. You think. Well, what the (..) are these people doing coming to this room? Why are people looking at this painting? Why is this artwork in this room? Why does it cost a billion dollars? Why is that painting worth so much? We don’t really know. They did happen. They’re sacred objects in some sense and we gaze at them in ignorance and wonder. And the reason for that is that the unknown shines through the matus (from Hebrew מַתִּתְיָהוּ‎ mattiṯyāhū meaning “gift of the Lord” or “gift of Jehovah”) and in partially articulated form. So, well, that's the role of art. That’s the role of artists.”

He further notes that creative action is what "revitalizes cities" and makes things "magnificent and beautiful." His advice is practical: buy a piece of art that speaks to you or your community, because it serves as a "lookout" or a "window into the transcendent." It expands us beyond our limited boundaries and ignorance.

So he said about the intrinsic value of art: “It's not that creative action is without value, right? Because the creative people are entrepreneurs and the creative people revitalise cities and the creative people make things magnificent and beautiful.”

Dr. Peterson also goes on to say about buying art and it's value in our lives: “So, anyway, so that's what artists are doing and so one of the things i would say is buy a (..) piece of art. You know, find one that really speaks to you and and buy a piece of art because you invite that into your life. And it's a lookout. If you do it, if it's a real piece of art because you'll also get a, you know, a little introduction to the artist and then that'll seep into your life and that'll change things like mad. But it's really it's unbelievably worth it because if it opens your eyes to the domain of the transcendent, that's the right way of thinking. About a real piece of art is a window into the transcendent, that's what it is and you need that in your life because you're finite and limited and bounded, right by your ignorance and your lack of knowing.”

Human Link vs. Automated World

​As I mentioned in the foreword, we live in a society that has largely abandoned art for mass replication. Over the last two centuries, art has been slowly overtaken by technological advancements, from mass printing and photography to computing and now, in 2026, artificial intelligence agents and robots and so on.

​This raises vital questions: Will this automation ever have true essence? Can it truly delve into the unknown, or does it merely regurgitate the "known"? I believe humans are uniquely linked to the possibilities of the unknown.

While AI may replace some forms of abstract reasoning and technical creativity, it can never replace the true essence of what it means to be human.

​Art critic Jerry Saltz has recently (as of early 2026) maintained a critical yet nuanced stance on artificial intelligence, stating that while AI is a "tool" and "expansion of who gets to create," it cannot replace human artists because it lacks lived human experience, consciousness, and the ability to truly feel.

Jerry’s key points on why AI cannot replace artists include:

• Lack of Lived Experience (”Meat Art”): Saltz argues that true art requires a visceral expression of human existence, famously noting that “without sex and death, there’s no art”. He contrasts “Meat Art” (human art) with AI, stating he wants the algorithm to “experience death” or “know the feeling of feeling like you have a fat neck, or bad hair”.

• AI Art is “Average” and Derived: Saltz considers most AI-generated art to be “average,” calling it “90% crap”. He argues it is an “average of averages being fed an increasing number of averages”.

• Art Needs Intention and Soul: He emphasizes that the value of art comes from human intention and meaning, which AI, treating pixels as statistical probabilities, cannot truly replicate.

• “Shaman Pirates”: Saltz views artists as “shaman pirates living on the edge of the village” who will use AI as a tool, similar to paint or a digital file, rather than being replaced by it.

Key Takeaways from Recent Media Discussions (2025–2026) with Jerry Saltz:

• Expansion, Not End: He often says AI is not the end of art, but an expansion of the tools available, urging artists to use it rather than fear it.

• It’s a Tool: He compares AI to oil paint or a camera, a tool to be utilized, not a replacement for human soul.

• “1 Day Old”: He has described AI as being “one day old” and in its infancy, noting that while it is currently “shite,” he acknowledges that “a Francis Bacon of AI art will emerge”.

So to summarise Jerry Saltz argues that: AI can replicate the aesthetic of a struggle or a victory, but it does not understand the internal mechanics of the objects it renders, essentially saying that artificial intelligence cannot replace the human story behind art.

The "pure logic" behind this lies in our biology. Academic studies in neuroaesthetics show that when we stand before an original work of art, our brain's precuneus, the area responsible for self-reflection and our sense of self… reacts with a depth that no digital reproduction can trigger. Art is a physical manifestation of the artist's entire makeup: their nervous system, their emotional centre, and their deep, mysterious links to the universe.

​Humans have the ability to appreciate art far more than any other creature on this planet. This unique capacity is what allows us to bridge the gap between our finite lives and the infinite beauty of the design around us.

Future of Feeling: Why Authenticity is the Currency of 2026 and beyond

As mentioned in the foreword, we live in a society that has largely abandoned art for mass replication. Over the last two centuries, art has been slowly overtaken by technological advancements, from mass printing and photography to computing and now artificial intelligence. This raises a vital question: will this automation ever have true essence? Can it truly delve into the unknown, or does it merely regurgitate the "known"?

Humans are uniquely linked to the possibilities of the unknown. While AI may replace some forms of abstract reasoning and technical creativity, it can never replace the true essence of what it means to be human.

The logic behind this lies in our biology. A new study at the Mauritshuis Museum in The Hague showed that original art stimulates the brain far more than reproductions. Using eye-tracking equipment and an electroencephalography (EEG) brain scanner, researchers found that physical pieces of art induced a stimulus 10 times stronger than museum shop posters of the same works. The results showed that real-life artworks activated the precuneus, the part of the brain associated with self-reflection.

Art is a physical manifestation of the artist's entire makeup: their nervous system, their emotional center, and their deep, mysterious links to the universe. An automated process simply cannot activate that shared human resonance.

Inviting the Unknown into the Home

Understanding the biological and psychological depth of original art leads us to a practical conclusion: art is not merely interior design. Bringing an original work into your living space is about creating an environment of reflection and a focal point for the mind.

Here are some considerations to think about about art in your apace:

• Artwork is a Window to the Unknown: As Dr. Peterson noted, a real piece of art is a "lookout." It serves as a daily window into the transcendent, helping us navigate our own finite limitations and the boundaries of our ignorance.

• Artwork is a De-fragmenter for the Mind: A busy mind or a chaotic day requires a visual anchor. A genuine artwork orders chaos and provides a peaceful, seamless space for your mind to rest and reflect.

• Art is the Universal Compass: Just as a magnetic compass points to a force we cannot see, our deep human attraction to authentic beauty points toward an intelligent source of that beauty. Having these works in our homes serves as a daily reminder of the intricate, intelligent design of the world around us.

As we have learnt, humans have the ability to appreciate art far more than any other creature on this planet. This unique capacity is what allows us to bridge the gap between our everyday lives and the profound mysteries of existence. But how do we deal with the confusion today of what fine art is?

Why less and less people know what fine art is?

Take, for example, the recent collectible craze. Artists are increasingly using this model to create mass-market collector’s items out of artworks. It is an interesting experiment, but in my opinion, it devalues art as a whole in favor of profit. It might be financially valuable at the moment, but remember, as with all collectibles, it loses value over time if it is merely a fad.

Here are a few prominent examples of how the line between commercial product and high art is being blurred:

CJ Hendry: Perhaps the most prominent Australian artist (or designer) currently being questioned on the use of collectible craze, Hendry has built a massive global following through social media and hyper-realistic drawings and then has gone into AI generated collectibles art among other things. There is a audio discussion looking at both sides of what she does on ABC Art Show.

• Her Collectible: In late 2025, she launched “juju,” a character featuring a flower over one eye, released through high-end sculptures and blind-box bag charms.

• The Criticism: Critics have labeled her work as “ridiculous” and compared the frenzy to the “fidget spinner” obsession of 2017. Some argue she is a “disruptor” who blurs the line between commercial product and high art, leading to questions about who gets to decide “what is art”.

• Her Response: Hendry describes the project as a commentary on the “ridiculous” Labubu craze itself, using it as a “public experiment in authorship” that involves AI and audience feedback. I question whether it goes outside the realm of art especially when she uses AI to create these designs.

Damien Hirst : A long-time provocateur, Hirst has often been criticized for the “industrial” scale of his production and his embrace of speculative markets.

• His Collectible: His project “The Currency” (2021) involved 10,000 unique spot paintings, each tied to an NFT. Collectors had to choose between the physical painting and the digital token; the version not chosen was destroyed. And he got others to primarily make it. Where do we draw the line?

• The Criticism: Hirst is frequently accused of prioritizing profit and extreme wealth over artistic substance. His reliance on assistants and his focus on “repetition and seriality” have been cited as evidence of the “commercialization of his art”.

Kasing Lung (The Creator of Labubu): While Lung started as a traditional illustrator, the massive commercial success of his characters through Pop Mart has changed how his work is perceived.

• His Collectible: Labubu, a “toothed elf” from the The Monsters series, has become a global phenomenon, with revenue for the line increasing by over 700% in 2025 alone. It also has religious and spiritistic overtones that some aren’t aware of.

• The Criticism: Because the toys are sold primarily through “blind boxes” (where the buyer doesn’t know which figure they are getting), the work is often viewed more as a speculative asset or a gambling-adjacent product than as a fine art sculpture. Rare editions can fetch over $3,000 on the secondary market, fueling a “shadow economy” of scalpers and counterfeiters.

Banksy: Though his work is inherently anti-commercial, the massive secondary market for his prints and the “stunts” associated with them have led some to question if the “mystery” is now just a marketing tool.

• His Collectible: Official works authenticated by his “Pest Control” office serve as highly guarded collectibles. His Girl with Balloon sold for £18.6 million in 2025 after a famous live-shredding stunt.

• The Criticism: While he remains anonymous to avoid legal trouble, some argue his “secrecy” is now the primary factor driving his market success, turning his “street art” into a billionaire’s investment vehicle.

Why this is commercialization, not fine art?

People used to collect marbles, yoyos, and all kinds of similar items, and they have very little value now. Fine art is beyond that. It is not a fad or a temporary gimmick designed to just make money.

Is there a bigger problem with art world or perhaps with Modern Art or Contemporary Art? The period of demise may be here. Listen to what another artist Dries Ketels explains about in his video “Artist Explains: Why I Hate Modern Art”.

I think true fine art stands the test of time. It reaches into our soul, into the unknown that we are not familiar with, to teach us something and help us become more aware of ourselves, of others, and the universe around us. It is a far better investment than a commercialized collectible made by AI or designed for the mass market.

Some say that we have reached an Orwellian world, much like the 1984 novel, where culture is being degraded into a mechanistic, controlled system. In this case, it is driven by artificial intelligence engines and hype algorithms, watering art down into an intellectual slop not worth a cent. It completely misses the deep level of how human souls reach into the unknown to connect with the Creator (if you believe in that, like myself).

Learn more about fine art and what it means

I would like to conclude by encouraging all art collectors, interior designers, dealers, curators, and critics to remember these important points. Do not blindly follow the trends of the art world today that head towards commercialization, mass production, and far away from what fine art truly means.

If we look at the insights from top industry voices in 2026, the mandate for authenticity over commercialization is clear. Let us break down what this means for the stewards of our visual culture:

For Collectors and Dealers: The 2026 art market is demonstrating a clear shift as buyers become more discerning, choosing to focus on value rather than hype. We are seeing a slowdown in sales of highly speculative works, with collectors instead prioritizing artistic coherence, authenticity, and long-term potential. Fine art carries the distinct presence of the “artist’s hand,” elevating the piece beyond mere decoration into an object of meaningful artistic value. Investing in authentic works contributes directly to the continuation of an artist’s legacy. In contrast, mass-produced pieces function as endless commercial products that lack deep emotional connection. By prioritizing emotion, authenticity, and artistic identity over fast trends, collectors create a more stable environment to invest in art with genuine long-term value.

For Interior Designers: For interior designers, art plays a central role that goes far beyond mere decoration; it functions as a core aspect of a living space’s mood, identity, and harmony. Selecting authentic fine art is about finding pieces that emotionally resonate. As top designers note, choosing a single piece you truly love will bring more soul to a room than a collection of mass-produced items chosen simply to fill empty wall space. Mass-produced works often use generic paper or low-grade canvas, whereas authentic art utilizes high-quality materials that beautifully showcase the visual depth and retain their condition over time. Authentic art acts as the focal point, the kinetic vessel that anchors the energy of a room and invites the unknown into the home.

For Curators and Critics: Critics and curators play a crucial role in influencing the market, providing institutional recognition, and contextualizing artworks within history. Because contemporary art often lacks objective quality criteria, curators provide essential “status signals” to help stabilize value and communicate meaning. Looking at the trends for 2026, leading curators are prioritizing slower, more deliberate forms of art and exhibition-making. There is a renewed emphasis on hand-made, material, and craft-based practices. Even as technology like AI advances, top curators are approaching it with ethical restraint, seeking to position it alongside physical materials and personal experience rather than allowing it to replace them. Curators have the unique authority to prioritize artistic merit and philosophical rigor over the increasing financialization of the market.

Please continue to learn more about what art means, and I hope this article, and future ones from me on this subject, helps you become a smart art collector and dealer.

If you found value in this, please share this article with other readers who might appreciate it. I also encourage you to leave your thoughts in the comments below, and please subscribe to the Studio Blog so you never miss future insights into the world of fine art.

Until next time,

Michal Plis

We are witnessing a quiet but catastrophic shift in how we prepare for the future. Just as Artificial Intelligence begins to master the technical and the rote, we are systematically dismantling the education of the one thing machines cannot yet authentically replicate: human creativity.

The Great Collapse

A new report from The Guardian this week has sounded a national alarm: Australia is in danger of becoming an “artless country”. Enrolments in creative courses have collapsed, universities are axing dozens of degrees, and the pipeline of future artists is drying up at the high school level.

The numbers emerging from the Australian education sector are stark. Since the introduction of the “Job-ready Graduates” scheme in 2021, a policy designed to steer students toward “practical” industries by doubling the cost of humanities degrees, the result has been a bloodletting.

• Sky-high fees: Arts, society, and culture degrees saw student contributions rise by 116%. In 2026, a visual arts student pays nearly double what a math student pays ($9,537 vs $4,738), while a humanities student pays a staggering $17,399 per year.

• Pipeline failure: The rot starts early. Year 12 enrolments in drama are down 39%, dance down 38%, and media down 25% over the last eight years.

• Institutional retreat: Universities, facing funding shortfalls, have cut 48 creative degrees since 2018. Major institutions like ANU and Macquarie are slashing creative departments.

This is a “rollercoaster decline” that experts warn will lead to a “real reduction in the capacities to sustain a creative and cultural workforce” within five years.

But this isn’t just an Australian problem; it is a global one.

• United States: The share of humanities degrees has dropped by nearly 30% since 2005, with departments facing elimination across the country.

• United Kingdom: Government funding for arts courses has been slashed under claims they are “low value,” leading to a massive decline in students studying creative subjects.

The Survival Calculation

Why is this happening? It is the economy.

When rent and grocery prices soar, education becomes a financial risk calculation. Students (and their parents) are prioritizing immediate Return on Investment (ROI). The “safe” bet is STEM (Science, Technology, Engineering, Math). The “luxury” bet is the Arts.

As Professor Sandra Gattenhof notes, “There’s a disincentive for students to go into these areas and it’s not like they are big money-making areas”. The policy has created a price signal that tells students: Creativity is too expensive for you.

The AI Paradox

Here is the great irony: we are aggressively pivoting education toward technical STEM skills at the exact moment AI is proving it can do technical work faster, cheaper, and often better than entry-level humans.

We are training students to be “Robot-Ready”, competent at tasks machines will soon dominate—while discouraging them from becoming “Human-Ready.”

Recent reports from 2025 paint a different picture of the future job market:

• The “Hybrid” Premium: Analyses of millions of job ads show that AI is increasing the demand for creativity. Employers are seeking “hybrid” workers who can guide AI tools with human critical thinking and emotional intelligence.

• The “Grey Goo” Trap: As AI generates more of our content, we risk a world of “bland imitation” or “cultural atrophy.” Without trained human artists to push boundaries, our culture risks becoming a feedback loop of average, algorithm-generated noise.

By making creative education expensive and inaccessible, we are dismantling the very skill set that will command a premium in the 2030s: deep, critical, and emotional creativity.

Are we living in an increasingly artless world?

Based on the trajectory outlined in this report, the answer is yes.

This isn’t just about a shortage of actors or painters. It is about a “hollowing out” of the workforce. If we sever the pipeline of talent, we lose the designers, architects, and storytellers who power the creative economy.

Furthermore, if arts degrees remain prohibitively expensive, we return to a 19th-century model where creativity is the preserve of the wealthy, silencing the diverse voices that drive true innovation.

The Way Forward

We need to stop viewing arts education as a luxury item for the idle and start viewing it as essential mental infrastructure for the AI age.

• Policy Reform: The “price signal” method of hiking fees for arts degrees has failed to produce better job outcomes; it has only punished students. Governments must reverse these punitive fee structures.

• From STEM to STEAM: We need to reintegrate Arts into STEM. The coders of the future need to understand ethics and narrative; the artists of the future need to understand algorithms.

• Valuing “Soft” Skills: The job market is already signalling that “soft skills”, communication, empathy, adaptability, re the new “hard skills.” Our education system needs to catch up.

We are building a future full of incredibly smart machines. It would be a tragedy if we forgot to build smart, creative humans to guide them.

Keep creating,

Michal Plis

💬 Join the Conversation

I’d love to hear your thoughts on this. Please leave a comment below!

1. Is an Arts degree a bad investment? With the cost of living so high, is it irresponsible to encourage young people to study creative fields, or is it more necessary than ever?

2. The AI Factor: Do you believe AI will replace creative jobs, or will it make human creativity more valuable?

3. The Class Divide: Are we moving back to a world where only the wealthy can afford to be artists? What does that mean for the stories we tell as a society?

4. Your Experience: Have you or your children been discouraged from pursuing creative subjects in school recently?

References

• The Guardian: Australia in danger of becoming an ‘artless country’... Link

• Higher Education Policy Institute: The Humanities in Modern Britain Link

• Pressenza: The decline of the humanities studies around the world... Link

• Newcastle University: New Research Shows AI is Increasing Demand for Creativity Link

• Creative Coach: Why AI Can’t Make Art Link

Hello everyone, I have some exciting news to share about the future of the Michal Plis Studio blog.

For a long time, my digital presence lived on Wix via michalplis.com/blog. While it served well as a static gallery, my work has evolved. I’ve felt the need for a space that is less about a portfolio and more about a living, breathing conversation with art collectors, curators, and fellow artists. Of course my main gallery site will continue to be michalplis.com for artworks, bio, shop and other aspects.

Effective immediately, I have moved the studio blog to its new home:
👉 blog.michalplis.com

Why the Move to Substack?

As many of you know, my practice is rooted in Roundism Art Movement—an exploration of flow, light, and the absence of straight lines. I wanted a platform that mirrored that fluidity.

Substack allows me to focus entirely on sharing high-quality art industry insights and my creative process without the noise of traditional social media algorithms or the clutter of pop-up ads. It’s a direct connection between my studio and your inbox.

What Does This Mean for You?

My core mission remains the same: to celebrate the boundless possibilities of artistic expression in discovering the unknown.

Here is how the new access plan works:

• Free Forever: The majority of my blog posts—including studio updates and exhibition news—will continue to be free for everyone. You do not need to pay to follow my journey.

• The “Pledge” Feature: If you want to support my work early, you can now pledge a future subscription. This signals your support for the studio and helps me plan more ambitious creative projects.

• Paid Tier (Coming Soon): I will soon be introducing a Paid Subscriber option for those who want deeper value. This will include exclusive behind-the-scenes content, deep-dives into my “sculpting with light” techniques, and private industry commentary.

Explore the New Categories

I have organized the new blog into five clear sections to help you find exactly what you’re looking for:

• Artistic Journey: My creative process and technical explorations.

• Short Stories: The narratives and creative writing behind my work.

• Exhibitions: Updates on my upcoming exhibitions.

• Art Industry Insights: Honest takes on the business of the art world.

• Art Buying Guide: Practical advice for collectors.

A Quick Tour of the New Studio Blog

The new platform is designed to be elegant, minimalist, and easy to navigate so the artwork can take center stage. Here is a guide to the new features you can use:

The Desktop Experience (Web Browser)

• Top Menu: You can quickly filter posts by the topics mentioned above using the tabs right at the top of the homepage.

• Interaction: You can easily Like, Comment, or Share an article to join the conversation and let me know your thoughts on a specific piece.

• Table of Contents: For longer deep-dives or industry guides, a handy table of contents will appear on the left side of your screen so you can jump straight to the section you need.

The Mobile App Experience

For the absolute best experience, I recommend reading via the Substack App.

• Audio Play Button: This is a fantastic feature. Tap the Play icon (headphones) at the top right of an article to listen to my blog posts and short stories like a podcast while you commute or work in your own studio.

• Easy Tabs: Navigate seamlessly between Posts (full articles) and Notes (my short, behind-the-scenes updates) using the simple menu tabs.

• Clean Feed: Scroll through my latest paintings and insights in a beautiful, distraction-free environment.

Next Steps

1. Subscribe: Visit blog.michalplis.com and enter your email to ensure you never miss an update from the studio.

2. Get the App: I highly recommend the Substack App. It offers a clean reading experience and a “Listen” button so you can hear my articles as a podcast while you are in the studio or on the move.

3. Spread the Word: If you know someone who loves abstract art or is curious about the art market, please share this new home with them.

Thank you for your continued support as I continue to explore the unknown. See you in the next post!

— Michal Plis Abstract Artist

Get ready to embark on an extraordinary journey at the 2025 Exhibition, “Glimpse of Another Universe,” which will be held at Louis Joel Gallery in Altona. This event promises to offer a fresh perspective on art, with the interplay of material and light, where Michal will reveal a captivating new art movement.

2025 Exhibition Statement

Welcome. This exhibition invites you into a fresh perspective, revealing Roundism, a contemporary art movement conceived by Michal Plis in 2022. Using this new movement, Plis explores his own abstract universe through purely round forms: dots, circles, rings, and spheres.

In this suite of paintings and sculptures, Plis is “sculpting with light”. Subtle optical phenomena take center stage, including fluorescent pigments that shift with illumination, transparent layers that reveal the interplay of form and void, and reflective surfaces that catch and bend light in unexpected ways.

This exhibition explores coherence within the manifold nature of things, including us. This is introduced through three of these forces: You will find distinct Source sculptures for each, each with a manifold nature, as well as other works basking in their corresponding light:

● Candor (Yellow): The “glowing heat” of purity and genesis, balanced against its blinding, overwhelming intensity.

● Cinis (Red): The “orderly danger”, balanced against the “dormant embers” of spent passion.

● Caerulea (Blue): The “deep calm” and serenity, balanced against its somber, melancholy qualities.

As a neurodivergent creator, Plis fully immerses himself in his subjects, translating their essence into these vibrant, abstract, and coherent forms. Born in the early 1980s on Poland’s Baltic coast, Plis returned to art after two decades in information technology, refining this new vision at the Melbourne Studio of Art under Ilona Herrainer from 2024–2025.

These works are more than art; they are gateways. They are a glimpse into a cosmos, both alien and familiar, designed to spark your curiosity long after the gallery lights go down.

Learn more about the artist and the Roundism movement at: michalplis.com/roundism

Follow the journey: @michalplisart on most social media.

2025 Exhibition Details

Launch Event: Concluded on 15 Nov 2025 at 12-2pm

Watch the replay on Youtube: LINK

Launch included a intruductory speech by Catherine Curtain, Chair of the Board of Directors of Hobsons Bay Community Advancement Co-operative trades as the Louis Joel Arts & Community Centre.

Launch also includes a speech by Michal Plis, the artist unveiling of a new contemporary art movement: Roundism and a commentary of his style and theme of the exhibition.

• Launch Event Date & Time: 15 Nov 2025 at 12-2 pm (AEST time)

• Type: In person or live streaming

• In-Person Location: Louis Joel Gallery, 5 Sargood St, Altona VIC 3018, Australia

• Refreshments were provided & it was live streamed on Youtube.

Meet the Artist Event Days: Conducted on 16/23/30 Nov 2025

If you would like to talk with the artist about his artworks in person.

• Dates & Times: Sundays (16th, 23rd, 30th Nov) at 11am - 2pm

• Type: In person only

• Entry Fee: FREE

• Location: Louis Joel Gallery, 5 Sargood St, Altona VIC 3018, Australia

Special Event: Nocturnal Walkthrough with Artist: Concluded

Watch the replay on Youtube: LINK

A torch-lit walk through the exhibition after dark, using torch and UV torch to reveal hidden details. Michal shared a few insights.

​

• Dates & Times: Saturday 29th November 2025 at 8:30pm (Civil twilight)

• Type: In Person only

• Refreshments will be provided afterwards.

• Entry Fee: FREE

• Location: Louis Joel Gallery, 5 Sargood St, Altona VIC 3018, Australia

General Exhibition Details:

• Exhibition Duration: 15 Nov to 3 Dec 2025

• Entry Fee: FREE

• Location: Louis Joel Gallery, 5 Sargood St, Altona VIC 3018, Australia

• Gallery Open Times: Mon to Fri: 9:30am, Sat & Sun: 11am - 2pm

• Meet the artist: Sundays (16th, 23rd, 30th Nov) at 11am - 2pm

Exhibition Publicity

Advertisements

• Art Almanac, in November 2025 Issue Printed & Online

• ArtsHub

• Eventbrite (Launch & Meet the Artist Days)

• Instagram

• TikTok

• YouTube

• X

• Pinterest

• Bluesky

• Threads

• Reddit

Press

• TBC

Exhibition Gallery

Full Exhibition Walkthrough

Artwork Sales

Visit michalplis.com/#shop and review the Exhibition Price List.

To make a bid for purchase of Michal Plis works or prints please contact Louis Joel Gallery & Community Centre:

• Web: ljac.com.au

• Phone: +61 9398 2511

• In person: 5 Sargood Street, Altona VIC 3018 Australia

Exhibition ends on 3 December 2025. Purchased artwork pickup or organising for shipping can be done on 4th December or after through the artist, Michal. Advise the gallery accordingly. Scammers will be reported to Police.

In this blog I talk about my recent experience in trying to sculpt in stone and wood.

Recently I’ve been learning how to sculpt in wood and stone. Here is my experience and what I have learned about these 2 amazing mediums and what are my experiences: stone and wood. I thought I updated my clients on what I’ve been up to recently.

The Timeless Craft of Stone Sculpting

Stone sculpting is an ancient art form that dates back thousands of years, with early examples found in ancient times. Throughout history, different civilizations have used stone to create lasting monuments, statues, and intricate carvings, each contributing to the evolution of this craft.

From the colossal statues of Ancient Egypt to the detailed marble works of the Renaissance, stone sculpting has been a medium of expression, storytelling, and worship.

Recently, I had my first experience with stone sculpting, working with limestone, a material favoured for its softness and ease of carving compared to harder stones like granite or marble.

This hands-on introduction gave me a deeper appreciation for the skill and patience required to transform a raw piece of stone into something meaningful.

Engaging in this timeless craft allowed me to connect with the long lineage of artists who have shaped stone throughout history.

The Ancient Art of Wood Carving

Wood carving is one of the oldest forms of artistic expression, with roots that stretch back to prehistoric times. Cultures across the globe have used wood to create functional objects, religious icons, and decorative pieces, often imbuing their carvings with symbolic meanings.

From the intricate designs of traditional African masks to the delicate reliefs of medieval European churches, wood carving has served as a medium for both art and storytelling.

Yesterday, I embarked on my first wood carving experience. Working with the wood outdoors was not just a creative endeavour, but a deeply personal and relaxing one. The natural environment seemed to enhance the connection between the material and the craft, making each cut and curve feel more intuitive and meaningful. This initial experience allowed me to appreciate the organic beauty of wood and the centuries-old tradition of transforming it into art.

The Experience of Wood and Stone

It was amazing to have experienced artists teach me more about how to use wood and stone to create artworks. I think I really like the two materials. I’ll definitely be utilising them whenever I can get my hands on them and integrating them into my sculptures. They are readily available and they create really organic experiences for the audience and for me as the artist. They are excellent mediums for my abstract inspirations. I look forward to using these two mediums in my artwork whenever I get some.

Check out my current artworks for purchase here: michalplis.com/#shop

Regards

Michal Plis

Art is categorised, divided, organised and sorted in many ways and in this blog I summarised all the divisions to help art buyers and collectors to work out what they’re buying. This article covers how art is categorised.

Why do I give this information freely? Some people have to go to art schools and pay thousands of dollars to understand this but I think if visual arts is to be more popular and more purchased by everyone to start their own collection and the effect the art can make on the artist is immense. This knowledge must be freely shared and well understood. Art is a closely guarded thing sometimes much the same way as when the Christendom burned “heretics” on the stake for reading and distributing the Bible. Of course the art academics will not burn me on a stake but they will not be happy for me to share this freely since people have to pay them to understand this. Of course they are still very much important for those wanting to understand art categorisation more.

If something needs to be corrected: If I’ve got something wrong, please contact me through my social media about this blog or via the contact form on this website. I’m still learning about art. If I’ve got something wrong let me know. I’m trying to establish facts in art categorisation rather than opinions.

Contents

So how is art categorized then?

What Are the Different Ways Art is Organized, and Why Does It Matter?

The History of Art Categorization

Time Division

Fundamental division in visual art

Figurative art (real world, figurativism)
Abstract art (imaginary)

Historical Division of Visual Art

Traditional art (the past)
Contemporary art (today)

Art Movement or School or Period

Art Movement
Art School
Art Period

Art Categories

1. Art Form
2. Art Medium
3. Art Technique
4. Art Genre
5. Art Style
6. Art Purpose or Function
7. Art Cultural or Regional Context

Conclusion

Invitation to purchase my art

Disclaimer

So how is art categorized then?

Art, in its many forms, reflects the diversity of human experience, emotion, and creativity. Categorizing art is essential for understanding and appreciating its vast spectrum, whether it’s for academic study, collecting, or simply enjoying as a viewer. But how exactly is art categorized?

The process involves various methods that take into account elements like style, medium, historical period, cultural context, and even the intended message or purpose of the artwork. These categories help us navigate the art world, making it easier to recognize patterns, connect with the artist’s intent, and see how different works relate to one another.

What Are the Different Ways Art is Organized, and Why Does It Matter?

Art can be categorized in a variety of ways—by period, movement, type, medium, form, style, and more. However, these classifications can often overlap, leading to confusion and misconceptions about how art is organized. Understanding these different categories is crucial for anyone looking to appreciate art more deeply, whether they are collectors, students, or casual viewers.

But how do we make sense of these classifications, and what role do they play in our understanding of art and artists? This blog aims to untangle the complexities of art categorization, exploring the various ways art is organized and why these distinctions are important.

But how did categorization begin? Let’s find out.

The History of Art Categorization

The practice of categorizing art has roots that stretch back to ancient civilizations. Early efforts to organize and classify art were often tied to religious and cultural practices. In Ancient Egypt, for example, art was categorized based on its function, with a strong emphasis on the spiritual and the afterlife. The Greeks and Romans, on the other hand, began to categorize art based on style and subject matter, laying the groundwork for the distinction between genres like portraiture, landscape, and still life.

During the Renaissance, art categorization became more formalized as scholars and artists sought to revive and build upon classical traditions. The development of art academies in Europe further solidified these categories, as they emphasized the importance of technique and subject matter in their teaching. Artists were often classified by the medium they worked in—painting, sculpture, or architecture—and by the subjects they depicted, such as history, religion, or mythology.

As the centuries progressed, art categorization evolved in response to new movements and ideas. The 19th century saw the rise of art criticism and the establishment of more nuanced categories, driven by the desire to differentiate between styles like Romanticism, Realism, and Impressionism. By the 20th century, the explosion of modern and contemporary art brought even more complexity, with categories being defined not just by style and subject, but by the artist’s intent, philosophy, and even their cultural or political statements.

Today, the categorization of art continues to evolve, reflecting the diversity and global nature of the art world. While traditional categories like genre, medium, and style remain important, there is also increasing recognition of the need to consider context, identity, and the cultural significance of artworks. This historical journey of art categorization shows how our understanding of art has expanded, helping us appreciate the rich and varied tapestry of human creativity.

Time Division

Counting years of human history: Humans count years in various ways but most commonly history of humans is based on BC and CE. Who’s important to understand this division as art can be dated.

• BC - Years with the BC means year Before Christ or Before the Common Era is counted from before Jesus Christ’s birth.

• CE - Years with CE at the end of it mean a year after the Christian Era or counted from Jesus Christ’s Birth or alternatively called after the Common Era.

Now, in the sections that follow, we will explore the different ways art is categorized, providing you with a framework to better understand and appreciate the many facets of artistic expression.

Fundamental division in visual art

I think it’s firstly important to find a division between the real versus the imaginary. Dividing art into artworks that represent the world we see around us and the world that is hidden or non-existent can help ground the direction of the art that is being viewed. What can complicate things if an artwork uses real and imaginary elements - what can then be said perhaps that the work is both abstract and figurative. My take on all visual art is separating it first between the real representation of the world around us and the non real:

Figurative art (real world, figurativism)

Figurative art is visual language such as shape, form, colour and line to create compositions that clearly represent the real world around us or from real objects in the physical universe around us. Figurative art is not related to figure painting. Figurative art does include the human form and all things in the physical universe around us. Of course, some art movements such as surrealism mix figurative and abstract together.

Here are some key characteristics of figurative art:

• Representation of Reality: Figurative art aims to represent the physical world and its objects accurately. This includes depicting the human form, animals, landscapes, and everyday objects in a way that is easily identifiable to viewers.

• Visual Language: Artists use elements such as shape, form, color, and line to create compositions that mirror or interpret real-world subjects. These visual elements help convey details and characteristics of the subjects being represented.

• Not Limited to Figure Painting: Although figurative art can include figure painting, it is not restricted to it. Figurative art encompasses all forms that depict real objects and scenes, including still lifes, landscapes, and genre scenes, as well as the human form.

Here are some examples of figurative types of art:

• Traditional Figurative Art: Historically, figurative art includes classical traditions where artists aimed to depict subjects with precision and attention to detail, such as in Renaissance art or realism.

• Surrealism: This art movement blends figurative and abstract elements. Surrealist artists often use realistic depictions of figures and objects but place them in dreamlike or illogical settings, creating a fusion of reality and imagination.

• Expressionism and Modern Figurative Art: Some modern and contemporary art movements use figurative elements to express emotional or psychological states rather than focusing solely on realistic representation. These works may distort or manipulate figures and forms to convey deeper meanings or subjective experiences.

Purpose and impact of figurative art:

• Communication of Ideas: Figurative art serves to communicate ideas, emotions, and narratives through recognizable subjects. It can convey stories, document realities, or reflect cultural and personal perspectives.

• Connection to the Viewer: By depicting familiar subjects, figurative art often establishes an immediate connection with the viewer. This connection can enhance understanding and appreciation of the artwork, as viewers can relate to the depicted subjects.

In essence, figurative art is about creating visual representations of the real world or real objects. It allows artists to explore and depict the physical universe in a way that resonates with viewers through recognizable forms and subjects.

Abstract art (imaginary)

Abstract art is visual language such as shape, form, colour and line to create compositions that do not represent the real world or real objects in the physical universe around us. Of course, some art movements such as surrealism mix figurative and abstract together.

Here are some key characteristics of abstract art:

• Non-Representational: Abstract art does not depict specific objects, people, or scenes. Instead, it uses visual elements in a non-literal way, allowing for a broader range of interpretation and emotional response.

• Emphasis on Visual Elements: Artists work with shape, form, color, and line to create compositions that may evoke emotions, ideas, or aesthetic experiences without referring to the physical world. These elements are used in novel and innovative ways to explore artistic concepts.

• Imagination and Interpretation: Abstract art often relies on the viewer’s imagination and interpretation. Since the subject matter is not explicitly defined, the viewer is encouraged to engage with the artwork on a more personal and subjective level.

Here are some examples of abstract types of art:

• Early 20th Century: Abstract art emerged prominently in the early 20th century with movements such as Cubism, Expressionism, and Abstract Expressionism. Artists like Wassily Kandinsky, Piet Mondrian, and Jackson Pollock explored abstraction as a way to express emotions and ideas without the constraints of realistic representation.

• Surrealism: Although primarily known for its dreamlike and fantastical imagery, Surrealism often incorporates abstract elements. Surrealist artists blend abstract and figurative approaches to create works that challenge conventional perceptions and evoke subconscious experiences.

• Contemporary Abstract Art: In contemporary art, abstraction continues to evolve, incorporating various media and techniques. Artists may use digital tools, mixed media, and unconventional materials to push the boundaries of abstract expression.

Purpose and impact of abstract art:

• Exploration of Concepts: Abstract art allows artists to explore and communicate abstract concepts, emotions, and ideas that might not be easily conveyed through representational art. It provides a way to experiment with form, color, and composition.

• Personal Engagement: The open-ended nature of abstract art invites viewers to engage more deeply with their own responses and interpretations. Each viewer may derive a unique meaning or feeling from the artwork, making the experience highly individual.

• Aesthetic and Emotional Experience: Abstract art can focus on aesthetic qualities and emotional impact rather than narrative content. It offers a visual and sensory experience that can resonate on a different level compared to representational art.

In summary, abstract art is a genre that prioritizes visual and emotional experiences over realistic depiction. By focusing on the fundamental elements of art, it opens up a realm of imagination and interpretation, allowing both artists and viewers to explore new dimensions of creative expression.

Let’s now look at the historical categorisation in visual arts.

Historical Categorization of Visual Art

Viewing Art made from today and made in the past is a way to categorize art by dividing it into art in recent times and in the long past. It’s a division of art today and prior to the mid 20th century. There is also existent today traditional artist and art lover circles even here in Melbourne and contemporary focused artists and art lovers. Both schools of thought are ok and allowed - although they fight sometimes calling each other either outdated or not art. But let’s use the ancient Roman word: Pax (peace) because life is too short to squabble so let’s maintain everlasting peace. But there are many art history related divisions. Here are the 2 main historical divisions:

Traditional art (the past)

Traditional art refers to established ways of making art that were defined over centuries. It includes well defined styles and techniques as well as rules, standards and practices that have been established by artists for a long time. Examples of classical or traditional art movements are for example Renaissance, Neoclassical or Baroque. It’s usually everything before the mid 20th century. Some Art communities today stick to the traditional art religiously. In my opinion they often do not recognise abstract artists or artists that create art with styles post mid 20th century. But that is fine, as long as traditionals and contemporary artists and art lovers need to maintain everlasting Pax (Roman word for peace).

Traditional art is not the same as “Classical art” period (see below note)

Note on “Classical Art” Period:

Since classical art is an art movement primarily around the ancient civilisations and the art they produced for example Greece and Rome roughly from 500 BCE to 500 CE. It also extends to the Renaissance and later periods, where artists revived classical principles. Classical art is characterized by an emphasis on harmony, proportion, balance, and idealized beauty. It often depicts subjects from mythology, religion, and history, with a focus on human figures, architecture, and nature. Classical sculptures, paintings, and architecture often aim for realism and perfection in form, reflecting the ideals of the time. The philosophy of classical art is rooted in the ideals of order, rationality, and beauty. It reflects the values of the societies that produced it, emphasizing the importance of humanism, the pursuit of knowledge, and the celebration of human achievement.

Contemporary art (today)

Contemporary art in visual arts means art made by artists living today or present day, although it’s difficult to work out what “present day” means. Contemporary is usually from the mid 20th century till now. It goes away from the norms of classical and traditional art as discussed below.

Contemporary art is diverse and eclectic, often defying categorization. It embraces a wide range of styles, mediums, and techniques, including digital art, installation art, and performance art. Contemporary artists frequently address social, political, and cultural issues, exploring themes like identity, globalization, technological, and environmental concerns. Contemporary art is often more conceptual than modern art, emphasizing ideas and context as much as or more than the visual aesthetics. It is heavily influenced by postmodernism, which questions the very nature of art and challenges the idea of universal truths. And some contemporary artists don’t like traditional artists. But all I can say is traditional and contemporary artists need to maintain everlasting Pax (Roman word for peace).

Contemporary art is not the same as “Modern Art” Movement which was an art movement from around the 1860s till the 1960s (See below note)

Note on “Modern Art” Movement:

Modern art typically refers to the period from the late 19th century to the mid-20th century, roughly from the 1860s to the 1970s. Modern art is characterized by a break from traditional artistic conventions. Artists began to experiment with new forms, techniques, and materials, focusing on abstraction, expression, and a departure from realism. Movements like Impressionism, Cubism, Surrealism, and Abstract Expressionism fall under the umbrella of modern art. Modern art is often associated with a sense of optimism about progress and innovation. It reflects a desire to explore the boundaries of art, challenge established norms, and respond to rapid societal changes, such as industrialization and urbanization.

Let’s now cover another important categorization or grouping called Art Movements, Schools and Periods.

Art Movement or School or Period

Movements, schools and periods are a set of divisions in art which use visual principles and techniques in a certain way to create a specific visual goal(s) or philosophy(ies). It is usually followed by a group of artists during a specific period of time (months, years or decades and that’s called an art period as well). Art movements, in particular, have become very important in contemporary art but these days it isn’t tied to a particular period of time but focuses on the rules of the movement itself.

Although it’s part of categories it’s a very common and important way to divide art. So I have written about it separately in the “Art Categories” separate section. But first let’s learn about movements, schools and periods in more detail below.

Art Movement

Art Movement refers to a collective group of artists who work within a specific time period and share common stylistic, philosophical, or thematic goals. Art movements often arise in response to cultural, social, or political changes and are characterized by distinct approaches to art-making that distinguish them from other periods or styles. These movements can influence the direction of art and contribute to significant shifts in artistic practice and theory.

• Characteristics: Art movements are defined by their shared artistic principles, techniques, and goals. Members of a movement often collaborate, exhibit together, or influence each other’s work, creating a recognizable and cohesive body of art.

• Historical and Cultural Context: Movements often emerge during particular historical moments and reflect the cultural and social dynamics of the time. They can be responses to previous artistic traditions or revolutionary changes in society.

Examples:

• Impressionism (late 19th century): Focused on capturing the effects of light and colour through loose brushwork and an emphasis on everyday subjects and fleeting moments.

• Cubism (early 20th century): Developed by Pablo Picasso and Georges Braque, it broke objects into geometric shapes and reassembled them from multiple viewpoints, challenging traditional perspectives.

• Surrealism (1920s): Aimed to explore the unconscious mind and dreamlike states, producing art that was often bizarre and illogical.

• Abstract Expressionism (mid-20th century): Emphasized spontaneous, abstract forms and the emotional impact of colour and brushstroke, with key figures including Jackson Pollock and Mark Rothko.

• Pop Art (1950s-1960s): Drew inspiration from popular culture and mass media, incorporating imagery from advertising, comics, and consumer goods into art, with artists like Andy Warhol and Roy Lichtenstein.

Understanding art movements helps in appreciating the evolution of artistic styles and concepts, as well as the social and cultural factors that influence artistic expression.

Art School

Art school is a type of movement but from a particular art school or university. Art Schools refer to specific groups or movements of artists who share a common philosophy, style, technique, or approach to art and come from the same art school. These schools often arise in a particular geographic location or during a specific time period and are sometimes centered around a mentor or influential figure who leads or inspires the group. Art schools as a categorization help in understanding the development of artistic trends and the transmission of ideas among artists.

• Philosophical and Stylistic Unity: Art schools are often characterized by a unified approach to art, where members share similar views on aesthetics, techniques, and subject matter. This unity can be ideological, where artists are bound by a common vision or purpose.

• Geographic and Historical Context: Art schools frequently emerge in specific locations and are associated with the cultural and social environment of that place. For instance, the Florentine School during the Renaissance was cantered around Florence, Italy, and was known for its emphasis on linear perspective and anatomical accuracy.

Examples of Art Schools:

• The Barbizon School: A group of mid-19th-century French landscape painters who rejected the idealized landscapes of earlier periods in favour of more naturalistic scenes.

• The Vienna Secession: An Austrian movement of artists and architects in the late 19th and early 20th centuries who sought to break away from traditional academic art and embrace modernism.

• The Hudson River School: A mid-19th-century American art movement that focused on romantic, grandiose landscapes, particularly of the Hudson River Valley.

• The Heidelberg School: An Australian art movement of the late 19th century started in Melbourne, notable for its plein air (outdoor) painting style. The Heidelberg School artists were influenced by European Impressionism and focused on capturing the natural beauty of the Australian landscape with vivid colour and light. Key figures include Tom Roberts, Arthur Streeton, and Frederick McCubbin.

Art schools as a categorization help art historians and enthusiasts trace the evolution of artistic ideas, understand regional variations, and identify the influence of key figures within these groups.

Art Period

Art Period refers to a specific span of time in art history during which certain styles, techniques, themes, and cultural influences were predominant. An art period is often characterized by a shared artistic approach and philosophy among artists, typically reflecting broader social, political, and cultural changes of the time. Understanding art periods helps in placing an artwork within its historical context, allowing for a deeper appreciation of the influences and innovations of that time.

Chronological Contents: Art periods are typically defined by start and end dates that correspond to significant changes in artistic practices or historical events. For example, the Renaissance (14th to 17th century) marked a revival of classical ideas and an emphasis on humanism, while the Modern period (late 19th to mid-20th century) is characterized by experimentation and a break from traditional forms.

Examples of Art Periods:

• Renaissance (14th to 17th century): Focused on classical revival, humanism, and realism.

• Baroque (17th century): Known for dramatic use of light, movement, and grandeur.

• Romanticism (late 18th to mid-19th century): Emphasized emotion, nature, and individualism.

• Modernism (late 19th to mid-20th century): Defined by innovation, abstraction, and a departure from traditional forms.

• Contemporary (late 20th century to present): Encompasses a wide range of styles and approaches, often reflecting current social and technological trends.

Now let’s dig into all the other fine grained categories used in visual art.

Art Categories

Categorization is a way to classify art or group it. Art categories are systems used to classify and group artworks based on shared characteristics. It can cover various aspects such as:

1. Form: Defines the broad type of art (e.g., painting, sculpture).

2. Genre: The subject matter or theme, such as portrait, landscape, or abstract art.

3. Medium: The materials and techniques used, such as painting, sculpture, or digital art.

4. Technique: Delves into the specific methods used (e.g., glazing in ceramics, impasto in painting).

5. Style: The distinctive visual elements, techniques, and methods that typify an artist or movement, like Impressionism or Surrealism.

6. Purpose or Function: The intended use or role of the artwork, whether it’s decorative, religious, or political.

7. Cultural or Regional Context: The influence of the specific culture or region where the art was produced or where the artist comes from or from which culture the art is influenced from, like African art or Japanese ukiyo-e.

Understanding these categories helps in appreciating the diversity and depth of art, allowing for a more organized exploration of the vast art world. Let’s analyse those specific and common categorisations in this section in detail:

1. Art Form

Art form in visual arts is a categorisation by how the artist(s) uses(use) a certain way or method or process to express art visually or a type of art genre that might be used. It’s a way of categorizing art based on the techniques or materials used, as well as the style or genre of the artwork.

Different art forms allow artists to explore and communicate their ideas in diverse ways, each with its own set of conventions, history, and expressive possibilities. Examples of art form are painting, drawing, sculpture, murals, photography, installations. Each art form offers unique opportunities for expression, allowing artists to choose the medium that best aligns with their vision and message.

2. Art Medium

Art medium in visual arts is a categorisation by the material or substance that is used to make art. The choice of medium plays a crucial role in shaping the final outcome of the artwork, influencing its texture, durability, and overall aesthetic. Different mediums offer various possibilities and challenges, allowing artists to explore a wide range of expressions and techniques. For example clay, acrylic paint, computer, pencil, paper, canvas, their body (in performance art), and etc. The art mediums help a visual artist realise their vision.

Each art medium brings its own set of characteristics, affecting how the artist can manipulate and express their ideas. The choice of medium is often closely linked to the artist’s intended message, the desired effect, and the practical considerations of the artwork’s creation and display.

3. Art Technique

Art technique in visual arts is a way to categorise art based on the methods and processes that artists may use to make their artworks. Techniques can vary widely depending on the medium, whether in painting, sculpture, or other forms of visual art. These techniques often define the style, texture, and overall impact of the artwork, reflecting the artist’s unique approach.

There are many examples of art techniques. For example Pollock used cans of paint to pour them or spray paint with brushes onto the paint surface. In painting, there are common techniques such as pouring, impasto, glazing, sfumato, dry brushing and many more. In sculpture, there are some common techniques also such as carving, modelling, casting, assemblage, relief and many more. And in mixed media there are specific techniques such as collage, mosaic, kinetic sculpture and so on.

Each technique, whether in painting, sculpture, or mixed media, offers unique possibilities for expression. Artists choose their techniques based on the effects they wish to achieve and the materials they prefer to work with.

4. Art Genre

Art genre is a division to categorise artworks based on the object or subject being covered. Genres help to organize and categorize art, making it easier to understand and discuss different styles and approaches. Each genre often comes with its own set of conventions and characteristics, guiding both the creation and interpretation of the artwork.

For example within Figurative art you could have the following genres such as Still Life, Landscape, Portrait or Genre painting. In Abstract art some of the many genres are Abstract Expressionism, Geometric Abstraction, Colour Field Painting, Lyrical Abstraction, and Minimalism to name a few. There is also some standalone genres focused on the human condition such as narrative art and conceptual art.

Each genre provides a framework that guides both the creation and interpretation of art, offering artists a way to align their work with certain themes, traditions, or movements. Understanding art genres helps viewers to recognize patterns, influences, and the context in which an artwork was created, enriching their overall appreciation of the piece.

5. Art Style

An art style in visual arts is a distinct way that a group of artworks is categorised into a distinct style that could be by the same artist, from the same period, from the same school or location or art movement or ancient culture. Sometimes also a single artist over his career can change styles from one to another in distinct groupings. An art style encompasses the techniques, themes, and formal qualities that set a body of work apart from others, providing a recognizable identity. Art styles are often shaped by the cultural, social, and historical context in which they emerge, reflecting the influences and values of the time.

Lets see some of types of styles:

• Artist-Specific Styles: Some artists develop a unique, recognizable style that becomes synonymous with their name.

• Period-Specific Styles: Art styles are often associated with specific historical periods, where certain visual characteristics dominate.

• School or Location-Based Styles: Art styles can also be linked to specific schools or geographic locations where artists shared common approaches or philosophies.

• Art Movements Styles: Styles are often defined by broader art movements, where groups of artists collectively explore new ideas and techniques.

• Evolution of an Artist’s Style: Throughout their career, an artist may explore different styles, evolving their approach as they encounter new influences or personal developments such as Picasso moving through several styles.

• Contemporary and Hybrid Styles: In the contemporary art world, styles often blur traditional boundaries, incorporating elements from various movements, cultures, and media.

Art style is a key factor in how artworks are categorized, studied, and appreciated. By identifying and understanding the style of an artwork, viewers can gain insight into the artist’s intentions, the cultural and historical context, and the broader trends that influenced the creation of the piece.

6. Art Purpose or Function

Art function or purpose in visual art is a division based on the practical use of the art such as fine art, decorative art, applied art, public art, religious or spiritual art, historical art, commemorative art, commercial art and others. It refers to the classification of artworks based on their intended use, role, or the message they convey within society. Different forms of art serve various purposes, from purely aesthetic enjoyment to practical applications, cultural expression, or communication. Understanding the function of an artwork helps in appreciating not just its visual elements but also its broader impact and significance within a particular context.

Let’s briefly list them:

• Fine Art: This category includes artworks created primarily for aesthetic purposes, meant to be appreciated for their beauty, emotional impact, or intellectual stimulation. The primary function of fine art is to engage the viewer in a deeper, more personal experience, encouraging reflection, emotion, and contemplation. There can be some commercial return to the artist but it usually doesn’t come straight away eg: Van Gogh hardly sold anything before he died. That is very sad that fine art isn’t appreciated more and valued enough for fine artists to be compensated. I’m very much in fine art space and struggle to sell anything. Fine art usually requires the most amount of time to create.

• Decorative Art: Decorative art combines aesthetic appeal with functional design, often enhancing the beauty of everyday objects. This is often mass produced by some artists for the purpose of decoration and aesthetics of the space they trying to blend it with and often follows ever changing fads. In my opinion, this form of art has been overemphasised in social media and mainstream media. But does it really hold any value growth past the trend periods?

• Applied Art: Applied art involves the practical application of artistic principles to the design of objects or environments. This includes fields like graphic design, industrial design, fashion design, and interior design.

• Public Art: Public art is created with the intention of being displayed in public spaces, accessible to a broad audience. This includes murals, sculptures, installations, and monuments.

• Religious or Spiritual Art: This type of art is created to inspire, teach, or represent spiritual beliefs and practices. Religious art can be found in various forms, including icons, altarpieces, stained glass windows, and sacred architecture.

• Historical Art: Historical art aims to depict or commemorate events, figures, or eras from history. This category includes works that document significant moments, such as battles, political events, or cultural milestones.

• Commemorative Art: Commemorative art is created to honour or remember individuals, events, or achievements. This can take the form of statues, memorials, plaques, or dedicated spaces like gardens or museums.

• Commercial Art: Commercial art is produced primarily for commercial purposes, often aimed at advertising, marketing, or promoting products and services. This includes posters, billboards, packaging design, and media campaigns. It’s often mass produced and overemphasised in the world today and often used for evil purposes of the corporations to such you into buying meaningless trinkets.

• Political Art: Political art, often overlapping with public art, is created to express political opinions, critique social issues, or advocate for change. This form of art serves as a powerful tool for activism, challenging the status quo, and encouraging public discourse.

• Educational Art: Educational art is created with the intent to inform or educate the viewer about a particular subject. This can include scientific illustrations, instructional diagrams, or artworks that explore and explain complex ideas.

Understanding the purpose or function of an artwork provides insight into why it was created and how it fits into a broader cultural or social context. It also helps in appreciating the different roles that art can play, from serving as a tool for communication and education to enriching our daily lives with beauty and meaning.

7. Art Cultural or Regional Context

Cultural and regional content in art is a categorisation based on the cultural differences in different parts of the world. It provides a framework for understanding how different influences shape artistic practices and expressions. It highlights the importance of considering the background and environment of both the artist and the audience when interpreting and appreciating art.

For example African, Asian, Indigenous, Islamic, Latin American, Oceanic, European, and so on. Each of these categories highlights how art is not just an aesthetic endeavour but also a reflection of cultural identity, history, and values.

Here are the aspects of the cultural and regional context:

• Historical Influence: The historical background of a region significantly impacts its art. Historical events, such as colonization, trade, and migration, can introduce new materials, techniques, and themes.

• Cultural Values and Beliefs: Art often reflects the values, beliefs, and social norms of a culture. This can include religious beliefs, social hierarchies, and communal practices.

• Regional Materials and Techniques: The materials and techniques used in art are often influenced by the local environment. Artists use materials that are readily available in their region, which can lead to distinct styles.

• Symbolism and Themes: Different cultures use specific symbols and themes in their art to convey meaning. These symbols can be unique to a particular culture and may not be immediately understandable to those outside of it.

• Social and Political Context: The social and political environment of a region can influence the content and purpose of art. Art can be a form of political expression, resistance, or commentary on social issues. This context helps to understand why certain themes or styles are prevalent in specific regions.

• Cultural Exchange: Interaction between cultures, such as through trade or colonization, can lead to the exchange of artistic styles and techniques. This can result in hybrid art forms that incorporate elements from multiple cultures, enriching the art scene and creating new, blended traditions. Not only the negative side, but also the positive side, the effects of living in a multicultural society like Australia can create community based cultural exchanges among artists and cultures nd some say thats cultural appropriation, but in fact it’s the greatest form of flattery for artists of different cultures to be influenced by each other’s cultural and regional contexts. What new art movements will spring out of those exchanges.

Conclusion

All of these categorisations and divisions are a way for people to communicate on each artist’s work so that it can be quantified and discussed. But personally, I’m not a believer in divisions and I believe that each artist has their “own unique creative stream”.

What do I mean by artists own creative stream? When you combine all the “divisions” I mentioned in this blog (because I think they are divisions) you realise each artist is a human on this one earth with their own fabrics of influences and style. We live in a capitalist and measured world with everything highly organised and sorted into meters and centimeters and feet and inches and all that. So when you walk on the road you see an industrialised boring world we now live in.

But imagine a world where artists along with engineers are the standard way of building towns, homes and accentuating the natural world that keeps us alive instead of crowding it out with concrete jungles. A world where money to get this done is not an issue because love is the currency. Where artists become highly valued and encouraged to bring out their true artist’s inner self. A world where categorisation of art and artists like a factory processing centre is no longer and we start to focus on art permeating the world and the universe in harmony with it instead of bulldozing it - then we will truly understand what artists own unique creative stream is. Example is what Spain allowed Gaudi to do in Madrid, and it’s still a tourist destination till today. Imagine a world where art truly is free and knows no end. I wait for this world where art adds to life worth living.

But nonetheless, we have to use these categorisations and divisions in order to communicate art more effectively with the general public and the wider art community in this data obsessed world and so be it - for now.

As the buyer or art collector, I hope that this blog helps you to understand the different divisions and the way art is sorted and categorised so that it can help you when selecting an artwork of your choice or purchasing it for your home.

Enjoy collecting and exploring art!

Regards,

Michal Plis

Visit michalplis.com

Invitation to shop for my art

I also wanted to mention to you reader that some of my fine art is available for purchase. I mostly focus on the final frontier of discovering new types of art - which is abstract. Please visit my Shop page on this website to purchase my art directly from me!

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Disclaimer

The text in this blog is of my own research and I have not copied it from anyone but I have use a little bit of assistance from AI - but mostly it’s my work. It took me a long time because of my neurodiversity type illness. Please note that this is copyrighted. You need to seek written permission If you want to use any of this.

In this article I explore the concept of a talent agent for visual artists, much the same as musicians, actors and writers have. For some reason visual artists don’t have them, why is that and are there ideas on how it could work?

Contents

The Emergence of Talent Agencies in the Art World

Art as an asset class

Could talent agents really help visual artists?

Practical vision of what talent agents could do for visual artists

Benefits vs. Drawbacks of Working with an Art Agent

The Future of Talent Agents for Artists

Conclusion

Call to action

References

The Emergence of Talent Agencies in the Art World

Picture a scenario where talent agencies, traditionally associated with the entertainment industry, extend their purview to include visual artists. Can talent agents help visual artists?This idea, once deemed unconventional, is steadily gaining momentum, exemplified recently by United Talent Agency’s (UTA) venture in the United States into managing visual artists via UTA Fine Arts.

Let’s look at the example of UTA’s Fine Arts talent agency service:

UTA Fine Arts works closely with contemporary artists, spanning both emerging talents and established figures, to seamlessly weave their creations into the fabric of entertainment, media, and cultural spheres. Leveraging their expertise and extensive network, they cultivate impactful partnerships that amplify the artistic vision of each individual.

Furthermore, through the UTA Artist Space (physical galleries maintained by United Talent), with locations in Los Angeles and Atlanta, they provide accessible platforms for showcasing diverse talents fostering engagement and appreciation within our communities for forward-thinking artistic expressions. They have supported previously the following artists Lonnie Holley, Mandy El-Sayegh, The Estate of Ernie Barnes, Harmonia Rosales, Ferrari Sheppard, Chloe Chiasson, and Yashua Klos.

Artnet article entitled “Talent Agent Joshua Roth Talks Trash About Art World“ mentions about UTA: “United Talent’s move into the fine art world was greeted with scepticism in the art world. Roth apparently didn’t feel sufficiently welcomed. ‘Sometimes people in the art world, without having all the info, will put a negative slant on things,’ he told the Times.”

The concept of art as an asset class comes to mind in recent decades. And a talent or art agent is becoming necessary even for emerging artists worldwide as complexity of handling the business of art takes artists’ attention from what they should be doing most of the time - producing art.

I personally would love to have an artists talent or art agent look after the marketing, promotion, opportunity hunting and awards applications and allow me to just focus on producing art. The problem is I can’t find any talent agents for visual artists in Australia and it’s very scarce in the world as far as I can see - its only for the top visual artists in the world who can hire someone to do that. Let’s discuss the concept of art as an asset class.

Art as an asset class

The concept of art as an asset class refers to the practice of viewing art not only as a form of aesthetic expression but also as a tangible financial asset with investment potential. Traditionally, art has been collected and valued for its cultural significance, beauty, and emotional resonance. However, in recent decades, there has been a notable shift towards treating art as a financial instrument akin to stocks, bonds, or real estate.

Key aspects of the concept include:

• Investment Value: Artworks are seen as potential stores of value and sources of capital appreciation. Investors may purchase art with the expectation that its market value will increase over time, allowing them to profit from resale or appreciation.
  

• Diversification: Art can offer diversification benefits to investment portfolios, as its performance may not be closely correlated with traditional financial assets. This diversification can help reduce overall portfolio risk.

• Market Dynamics: The art market operates similarly to other financial markets, with auctions, galleries, dealers, and collectors driving supply, demand, and pricing. Factors such as artist reputation, rarity, provenance, and market trends influence art prices.

• Challenges: Investing in art comes with challenges, including illiquidity (the difficulty of selling artworks quickly), lack of transparency in pricing, authenticity issues, and subjective valuation criteria. Additionally, art market fluctuations can be unpredictable, making it a volatile investment.

• Cultural Considerations: Critics of viewing art purely as an asset class raise concerns about the commodification of culture and the potential impact on artistic integrity and authenticity. They argue that reducing art to its monetary value overlooks its intrinsic cultural and aesthetic significance.

Overall, the concept of art as an asset class reflects the evolving relationship between art and finance, with investors increasingly recognizing art’s potential as a valuable component of diversified investment portfolios. However, balancing financial considerations with cultural appreciation remains a complex and ongoing discussion within the art world.

A Deloitte research report form 2010 entitled “Why should art be considered as an asset class?“ delves into art as an investment, noting its unique traits and market trends. Despite being risky, illiquid, and opaque, art offers long-term value as a wealth store with moderate returns and low correlation to traditional assets. Globalisation, rising transparency, and financial industry interest are shaping art investments, with new collective vehicles and services emerging. This shift highlights art’s growing importance in finance.

But because Finance has gotten their fingers into the art pie I wonder whether AI art generators, Chinese art mass production cities and technological advances will keep pushing the art industry into mass production and away from its cultural significance and originality of work roots. The industry has since early 2000’s been focusing on art market trends (art making fads e.g. texture this year) rather than real art - from each artist’s soul unadulterated. This bothers me a lot and I feel based on the success paradox (as outlined by Vertasium Youtuber) I think 99% of visual artists will not succeed financially in art but will have a good time making art with a day job during the day - that’s the reality of the capitalist world we live in.

But I’m digressing, let’s explore this idea of talent agents for visual artists further.

Could talent agents really help visual artists?

Central to this discourse is the role of talent or art agents in representing visual artists. Traditionally, talent agents have served as intermediaries between artists and opportunities in the entertainment sector, facilitating deals and fostering career growth. Can this model be seamlessly adapted to suit the nuanced dynamics of the visual artist world?

Advocates argue that talent agencies offer visual artists access to a wider audience and diverse revenue streams, transcending conventional gallery representation. Leveraging their networks and expertise, talent agents can unlock avenues for collaborations, commissions, and exhibitions on a global scale, potentially revolutionising artists’ engagement with their craft.

Nevertheless, this endeavour is met with scepticism within the art world, renowned for its reverence for tradition and authenticity. Critics question whether the commercial objectives of talent agencies align with the intrinsic values of artistic expression and integrity.

However, the integration of talent agencies into the art world poses pertinent questions about the commodification of art and the preservation of artistic autonomy. Can the commercial imperatives of talent agencies coexist harmoniously with the creative vision and integrity of visual artists, or will they risk diluting the essence of artistic expression?

My take on this is that since talent agents have successfully helped musicians, writers, filmmakers, actors and live performers why shouldn’t they be useful for visual artists to diversify, catch and win business. After all, most artists in most types of art making aren’t good on the business side because they are essentially outside capitalism in the creative universe and their minds are wired to delve into the unknown and create into reality things that enrich society of humans to grow and learn and be inspired. Humans run on inspiration and reflection and art is important in that area.

Practical vision of what talent agents could do for visual artists

I envision a thriving commercial community of sole trader and agency based talent agents that look after emerging, mid-career and established visual artists. The talent agents could be compensated simply with a percentage of the artists sales as agreed for the duration of the talent agent contract and without any additional cost to the artist especially initially when they are getting started. This could possibly entail the following services:

1. Art Career Development and Management

• Personalised Career Strategies: Talent agents would work closely with visual artists to develop long-term career strategies tailored to their unique visions and goals. This includes identifying growth opportunities, advising on portfolio development, and navigating career transitions.

• Brand Building: Agents would help artists build and maintain their personal brands, ensuring consistent and professional representation across various platforms and public appearances.

2. Art Market Representation

• Exhibition Opportunities: Agents would secure opportunities for artists to exhibit their work in galleries, museums, and art fairs globally or locally, increasing their visibility and market reach. they would try to negotiate the expensive exhibition space hire fees and other gallery space requirements.

• Awards Opportunities: Agents would seek out and enter the artist into awards or competitions to expose their work in the right places and potentially win awards competitions. They would work out costs of entry and whether the artist has a possible chance to win and the budget to pay for the entry fees. They would also navigate the complex entry instructions.

• Commercial Collaborations: They would facilitate collaborations with brands, designers, and corporations, enabling artists to expand their influence and reach new audiences through commercial projects.

3. Financial Management

• Sales and Negotiations: Talent agents would handle art sales negotiations, ensuring artists receive fair compensation for their work. They would also manage licensing agreements and royalty arrangements.

• Investment and Asset Management: Agents would provide guidance on art as an investment, helping artists understand the financial aspects of their work and advising on long-term financial planning.

4. Legal and Administrative Support

• Contract Management: Agents would manage contracts and agreements, protecting artists’ intellectual property rights and ensuring compliance with legal standards.

• Administrative Tasks (Optional): By taking on administrative duties, agents would free up artists to focus on their creative processes. This includes scheduling, correspondence, and logistics for exhibitions and events. Or at least review their admin sometimes to improve it.

5. Art Marketing and Public Relations

• Publicity Campaigns (Optional): Agents would design and implement publicity campaigns to promote artists and their works through traditional and digital media channels.

• Social Media Management (Optional): They would manage artists’ social media profiles, creating engaging content to build a robust online presence and connect with a global audience.

6. Art Educational and Networking Opportunities

• Workshops and Seminars: Talent agents could locate and sign up with visual artist talent into relevant educational workshops and seminars to help them develop new skills and stay updated on industry trends. This would be done as needed.

• Networking Events: Agents would find networking events including other similar artist opening nights and gallery and function events relevant to the artist to attend, fostering connections with collectors, curators, galleries and other industry professionals.

7. Support for Creative Projects

• Project Management (Optional): Agents would assist artists in managing large-scale projects, from conceptualization to execution, ensuring that artistic visions are realised effectively.

• Funding and Grants: They would help artists identify and apply for grants, residencies, and other funding opportunities to support their creative endeavours.

There could be other ways I can’t think of that talent agents could assist visual artists but within the limits of artists career stage and amount of sales, especially at the start of their career.

I think by establishing a robust network of talent agents dedicated to the advancement of visual artists here in Australia and the rest of the world, we can create an ecosystem that nurtures and focuses artistic talent, promotes creative growth, and ensures the financial and professional well-being of artists at all stages of their careers. Talent agents would be responsible for filtering out who they think have potential to grow as an artist and would only take on those whom they see potential in.

The most important thing having affordable talent agents is that visual artists aren’t really good at the admin or marketing side of things but the are good at creating art and showmanship. And that creative energy is being sapped because of the increasing complexity and competition in the market for being a visual artist.

Benefits vs. Drawbacks of Working with an Art Agent

As the art world evolves, the concept of talent agents servicing visual artists is gaining traction. While this practice is not yet widespread, envisioning its potential offers insights into both the advantages and challenges it could present. Here’s a speculative look at the pros and cons from my perspective as an artist:

Pros:

Increased Exposure:

• Access to prestigious galleries, exhibitions, art fairs and competitions.

• Increased media coverage and public visibility through agent connections.

Professional Representation:

• Enhanced credibility and trust through agent endorsement.

• Valuable advice on career development and market trends from industry experts.

Negotiation Leverage:

• Better deals and fair compensation through skilled negotiation.

• Protection of intellectual property rights and favourable contractual terms.

Time Management Benefits:

• Optionally, administrative tasks handled by agents, freeing up creative time.

• Efficient career management, allowing artists to focus on their art.

Cons:

Commission Fees:

• Significant expenses from exhibition or competition hire and sales commission fees.

• Reduced profit margins due to agent costs.

Potential Loss of Creative Control:

• Possible influence on artistic direction to align with market trends.

• Pressure to create commercially viable work, potentially stifling creativity.

Agent Selectivity:

• Limited representation opportunities due to selective criteria.

• Competition for attention and resources from agents managing multiple artists.

While the concept of talent agents for visual artists is not yet common, its potential presents intriguing possibilities. Future art agents could significantly enhance an artist’s career through professional representation, increased exposure, and valuable industry connections. However, this potential also comes with financial costs, possible creative compromises, and the challenge of securing representation. As the art world continues to evolve, it will be fascinating to see how this potential reality unfolds and impacts the careers of visual artists.

The Future of Talent Agents for Artists

The role of art talent agents is poised for significant evolution as technology advances and the art market changes. Here are some key considerations on how this role might transform in the future:

Will AI Play a Role in Art Talent Agent Services?

Generative AI could revolutionise art agents’ operations by analysing data such as market trends and audience preferences. This could lead to more precise marketing strategies and better artwork placement. AI based agents could offer continuous support and reduce costs, making representation more accessible to emerging artists. Provided it’s not expensive per month.

However, human talent agents provide possibly irreplaceable benefits:

• Empathy and Understanding: Building trust and long-term relationships.

• Creative Insight: Understanding artistic expression and cultural contexts.

• Negotiation Skills: Handling complex negotiations with subtlety and flexibility.

• Exclusive Opportunities: Securing partnerships not available online.

• Reputation Building: Enhancing an artist’s prestige through strategic placements.

• Comprehensive Support: Offering career management, legal advice, and logistical coordination.

Will Art Talent Agents Become More Specialised in Representing Specific Artistic Styles or Mediums?

There is a growing trend towards specialisation among a lot of professions especially as AI comes into the picture. Specialised talent agents may offer in-depth knowledge about what the artist creates and they may target strategies for specific styles or mediums, such as contemporary art or sculpture. This may allow for stronger networks and tailored marketing approaches, enhancing credibility and attracting dedicated representation.

In conclusion, while future AI talent agents and online platforms might offer new possibilities, human agents may remain crucial for providing personalised, creative, and strategic support that may win in the future or artists may use a human talent agent that beside them utilises an AI based talent agent abilities that support the talent agent to do their best. As the art world diversifies, AI talent agents for visual artists may play an essential role in guiding artists to success.

Conclusion

In essence, the concept of talent representation for visual artists underscores the evolving dynamics of the art world in an increasingly interconnected, complicated and commercialised art environment in this world. As we navigate this transformative landscape, let’s remain vigilant in safeguarding the essence of artistry while embracing new avenues for growth and innovation.

I truly believe that if the concept of talent agents has worked well in the film, acting, music and other artistic industries it could work for visual artists, who have been underrepresented and stagnating as an art discipline. Visual artistic discipline can learn from other forms of discipline and embrace the concept of a talent agent. I believe in this because I am struggling myself as an emerging abstract artist with a neurodivergent illness who is struggling everyday to navigate this complex visual arts world and losing precious time on this earth away from creating.

Call to action

If you are an experienced artist or a professional in the marketing or arts or music or film industry or you already are a talent agent in other arts disciplines and think you could potentially create a service for visual artists that could be financially viable - I urge you to keep going and make that available, especially here in Australia where the visual arts is declining as per recent report by Creative Australia entitled Artists as Workers: An Economic Study of Professional Artists in Australia. I think visual arts talent agents could help invigorate and protect and grow the careers of many artists including hopefully me as a source of income and more.

Happy creating to all artists, don’t give up and I won’t either.

Regards

Michal Plis

References

Art Newspaper: Call My Agent: the rise of the artist talent agency https://www.theartnewspaper.com/2021/03/09/call-my-agent-the-rise-of-the-artist-talent-agency

Format Magazine: Art Agents: Do You Need One?https://www.format.com/magazine/resources/art/art-agent-artist-agency

Artnet: Talent Agent Joshua Roth Talks Trash About Art World https://news.artnet.com/art-world/talent-agent-joshua-roth-art-world-332364

Deloitte: Why should art be considered as an asset class? https://www.deloitte.com/lu/en/services/financial-advisory/research/art-as-investment.html

Vertasium Video: Is Success Luck or Hard Work? (now renamed Why Being Delusional is a Superpower)

Creative Australia: Artists as Workers: An Economic Study of Professional Artists in Australia: https://creative.gov.au/advocacy-and-research/artists-as-workers-an-economic-study-of-professional-artists-in-australia/

This article is about the recent study conducted Creative Australia and Macquarie University entitled “Artists a Workers: An economic study of professional artists in Australia” released on Tuesday 7th May 2024. It helps to answer the question can an artist make enough dough to to live off in Australia? Answer is more complex than we think.

This report marks the latest instalment in a significant series of studies conducted over the past four decades by Professor David Throsby and his team at Macquarie University. These studies have consistently examined the working conditions of artists, offering valuable insights into various aspects of their professional lives, including artistic practices, income levels, career progression, and overall work experiences.

I invite you to join me n his article as we delve into the key findings of this research, shedding light on the realities faced by artists in Australia and exploring the implications for the broader artistic community. This study also sheds light on various challenges and opportunities encountered by professional artists in the country.

Artists are the main producers of art in this country but we didn’t know how they work and what’s their income. This study does help shed light on this. Over 400 artists have participated with a deep study of their financial data and other aspects of their professional careers.

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Comments from Release Event

I also had a chance to attend the release session on 7th with Katya Petetskaya, David Throsby and Georgie McClean. David said that more and more artists have to freelance and diversify eg: casualisation - they are hard hit. That wasn’t used to be the case. Maybe policy needs to change to help artists.

Katya said that the survey focused on the unpaid labour n the arts, arts related and non arts related and also COVID incident and indigenous arts. This was compared to trans data like artists population etc. Interesting result in this survey she says that we are losing artists post COVID. Why? David says that it’s precariousness of the profession, artists are committed but society as a whole doesn’t view art as important - he says it’s a series of causes hard to pin down but number of increasing expenses plus low incomes.

Interesting observation from the statistic is that those that identify as male is only 35% the question is why? According to David there is no answer why. Pay gap is diminishing as a possible cause. Also according to Katya the possible causes it’s that female artists are less likely to report being an artist eg: casual.

Comments from researchers say that artists with a disability are increasing. Experiencing a disability and being an artist is an issue to support themselves as well as knowing how to manage an art business. Is greater support in setting up and running an art business is needed for artists with a disability? According to the study, some artists with a disability manage fine and some struggle. It really depends on the disability and the circumstances.

The Key Findings of the study

It delves into several crucial questions:

1. How do artists balance their artistic pursuits with other commitments, constraints, or the necessity to earn a livelihood?

2. What is the representation of the artistic workforce in relation to the broader Australian society, and what obstacles do different groups face?

3. In what ways do artists’ skills, capabilities, and work methods align with the evolving nature of employment?

4. How do societal and technological advancements influence Australian artists and their creative endeavors?

5. What measures can be implemented to support, safeguard, and fairly compensate professional artists in the future?

The report examines these inquiries in detail. It juxtaposes key survey findings with relevant literature and analysis to underscore emerging patterns and to deliberate on their implications for Australian artists moving forward.

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Main insights about Artists in Australia

The artistic workforce hasn’t grown as quickly as the general labor force, suggesting obstacles to creative work. Despite their valued contributions, artists struggle to maintain sustainable careers, earn income from their work, and protect their intellectual property.

Artists frequently struggle to support themselves through their creative work. Despite some stable roles, many face irregular work, low pay, and long hours. On average, they earn 26% less than professionals in other fields, with half making under $10,000 annually. Most work as freelancers, often balancing non-arts jobs to make ends meet. Rising casualization has led to higher artist unemployment rates. Rising living costs prompt more artists to invest in insurance, yet many remain uncertain about their financial futures.

My observations in the arts community on this point: financial difficulties of artists and how to help, one idea from me: I also think artists associations are struggling because artists are struggling but they bring in a lot of community exhibition opportunities and should be supported financially. For example, I sat on a Sculptors Victoria meeting on 8th May 2024 and all saw grey hair artists at the end of their careers talking about struggling to pay for membership and trying to find affordable exhibition spaces that won’t put up association member fees. I think if all state and national art associations were well supported by the government in each state and federal they would bring in more younger artists to the association and bring value for money to the artists and lift up the whole art space. Often associations have to have a ballot which only selects a handful of artists each time, but it’d be great to have multiple exhibitions all over the place that they could fund that members could be exhibited in. Just an observation. And the associations would have extra funding to be able to provide supports such as marketing support sessions funded through the government for artists and all sorts of other extra supports that they currently can’t have. Also each state or country wide art association should be given funding to acquire a permanent exhibition or meeting space so they can support their members with a permanent presence because exhibition space is too expensive now.

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Australian artists’ demographics are evolving, yet disparities persist. The artistic workforce now mirrors the nation’s diverse cultural and linguistic makeup, with more women, people with disabilities, multilingual artists, and regional-based creators. Despite this, challenges in creative practice and income disparities remain. Women artists earn 19% less than men on average, exceeding the 12% gender pay gap in the broader workforce in 2023.

Artists show resilience and adaptability but lack confidence in certain business areas (especially I think artists with a mental disability). They navigate changing work environments adeptly, leveraging technology and innovation. Despite financial challenges, they continuously develop their skills. However, many manage their business independently, lacking access to support services. Targeted training is needed to enhance their business acumen.

Technological advancements are reshaping the artistic landscape, influencing both the creation process and how artists connect with audiences. As digital technologies integrate into daily life, some artists are leveraging these tools to create, market, and engage with new audiences. While optimistic about the potential benefits, artists also face challenges in adapting to the digital realm and promoting their work online.

Technological advancements pose challenges for artists’ Intellectual Property (IP) protection. With digital platforms and emerging tech like AI, ensuring fair compensation becomes complex. Artists struggle to control their work online, facing uncertainty about legal protections. Traditional IP models are threatened in the digital era, raising concerns about fair compensation for artists.

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Key data discovered

I’ll mention the key data from this study and share my observations below each of them.

(1) Artist numbers declined slightly, standing at 47,100, not keeping pace with overall labor market growth.

My observations: Being an artists is a dying art as it were with AI and economic pressures biting at the heels of every artists out there.

(2) Occupations like actors/directors and dancers/choreographers increased, while musicians decreased.

My observations: This is a concern for the music industry in Australia. Without music life would be boring.

(3) Women dominate in most artistic fields but earn 19% less than men.

My observations: It’s un-denying in terms of what I suspected and now we can see the data that men are not joining the artistic profession and are also leaving - why? One thing I noticed is men under 40 don’t seem to be that interested in Art in general and I haven’t seen many art viewers that are young male. As a male artists I’m very concerned about that and my prospects may be very bleak. Interestingly there are more male musicians and composers than female but in any other arts discipline its may more women. This is why I have no hope as a male artist. There are is also the trend after 2016 towards toxic feminism teaching that men are not valuable part of society and only women are. Perhaps that has driven some men to switch off from even creating. As regards the gender pay gap - thats wrong and should be equalised.

Sexes breakdown over time:

Here is a sexes breakdown of subgroups:

(4) The artist population is older, with more aged 55 and over, though representation decreased in 2023.

My observations: This is an indication of the creative industry dying and disappearing as younger people aren’t choosing art as a professions because as the study shows you will have a life or mainly poverty if you try to live off art as an artist - at least in some of the disciplines in art. In fact only between 21-35% of all creatives are under 35 - that’s very concerning for the fading future of art making in Australia.

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(5) More artists from non-English speaking backgrounds and with disabilities face barriers. Some have moved from cities to regions, impacting their practice.

My observations: As an immigrant in Poland and someone with a disability I can definitely vouch for this as it’s very hard to enter the market and navigate everything. Its just too complex. Comparing 2016 and 2023 in terms of disability: In 2016 only 9% were with a disability and last year 16% were with a disability - so either artists are coming out with it and stigma is disappearing or there was an increase in disabilities post COVID? Also between 2002 and 2023 Non-english speaking artists increased from 8% to 13% - not much but its encouraging that they are trying.

Next steps according to Creative Australia

Creative Australia acknowledges the pivotal role artists play in shaping our arts, culture, and creative industries. Artists drive innovation, experimentation, and connections, enriching our society and economy.

“Artists as Workers” provides invaluable insights into artists’ working conditions, highlighting both opportunities and challenges. As part of their commitment to supporting artists at every stage of their careers, Creative Australia says they will leverage investments, development initiatives, and advocacy efforts.

Under their Revive cultural policy, which brings together public, philanthropic, and commercial interests, they will address emerging issues impacting creative work.

Additionally, they said that they will continue to conduct research and analysis to understand and meet the evolving needs of Australian artists. This includes updating studies on diversity in the arts sector and developing strategies to support First Nations artists as directed under Revive.

The future of creative work in Australia

In today’s creative economy, original ideas drive innovation, prosperity, and national wellbeing. However, technological disruptions and economic pressures are reshaping traditional business models for creative work.

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Rising living costs are squeezing artists’ budgets, impacting training, studio expenses, and insurance costs. Protecting intellectual property (IP) is crucial for artists’ economic survival, yet it’s increasingly challenging to control artworks in the digital age.

Technology offers both opportunities and challenges, with digital platforms transforming how art is discovered and consumed. As digital spaces become more algorithm-driven, artists face the dual challenge of experimentation and ensuring their work’s visibility amidst changing norms of access and sharing.

One such example is the skewered nature of social media visibility for a male visual artist: I post identical portrait short video on TikTok, YouTube, Instagram, X and Facebook - result: Only TikTok and YouTube generate thousands of views while Facebook and Instagram a few hundred and X a handful of views. Such examples how difficult it is for artists to promote will keep squeezing out artists out of the profession in the future.

The other issue is cost of living - more and more businesses can’t afford to rent their premises or even for artists to find a home that’s affordable. So this in turn makes it hard to sustain making art at low income levels.

So what will the future hold for artists in Australia? It will be unaffordable to be an artist without the support of the of Australian governments on all levels. Which countries support of the arts the most? Nordic countries, Canada, France, Germany and Australia. But if Australia doesn’t step up to the decline in the arts we will drop of as one of the most artist supported countries in the world.

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Particularly in the space of access to higher arts education for low income earners, mental health disability access to arts and indigenous access to arts will need to be tackled more deeply to give everyone an equal chance. Its very difficult particularly for these cohorts to make art. And supporting art association financially so that their members can better benefit and help them with marketing funding to attract more members.

Also the problem of Pay to Play gallery model is pushing visual artists out of the professions as its unaffordable and exhibiting is so important for a visual artists career.

Then you have AI that is further pushing out artists as customers can just get custom visual artworks, images and videos created by AI generator apps is skipping human artists, graphic designers, and other creatives. This will further put pressure on artists in the future. And very soon humanoid robots will come in the art world and make sculptures and live performance art pieces, in fact I saw one already in the National Gallery of Australia in Canberra recently Jordan Wolfson’s ‘Body Sculpture’ which consisted of a realistic humanoid arts that conducted a art performance with captive audiences. And OpenAI Sora and others will destroy the filmmaking industry.

I dare not think that one day art will be a personal private matter without a professional arts industry. Imagine a world without artists of all kinds. Here is a foregleam of a dark future:

For example the Nazis tried to destroy all kinds of art. During the Nazi regime, there was a systematic effort to destroy art and books deemed contrary to Nazi ideology. Modernist and expressionist artworks, along with works by Jewish and politically opposed artists, were labeled as “degenerate” and removed from public collections. Books considered subversive were banned and publicly burned in book burnings. These actions were part of the regime’s broader campaign to control cultural expression and promote their nationalist agenda, serving as a form of censorship and suppression of dissenting voices.

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Another example of a possible art future is in the movie 1984 based on the George Orwell book “1984”. In the dystopian world of “1984,” artistic expression is heavily suppressed by the authoritarian regime. The ruling Party, led by Big Brother, maintains strict control over all forms of creativity, viewing them as potential threats to its power. Artistic works are heavily censored, with only propaganda and state-approved messages permitted. The protagonist, Winston Smith, works for the Party’s Ministry of Truth, where he helps rewrite history and manipulate language to serve the Party’s agenda. This control over creative expression serves to further reinforce the regime’s grip on power and perpetuate its totalitarian rule.

There is also the Success Paradox as outlined by Vertasium on YouTube. Where it shows success in a capitalist world involves a pyramid scheme where only a few get to the top. With all the hard work and all the education and everything you’ll still not get to the top and 99% of people will just do average if not anything. And I think it applies to art the world as well because it’s part of a capitalist system. So only a few people will get to the top and the rest of us will just scrape.

What do those dark future examples show us? That art must be protected, unencumbered by legal hurdles, valued and treated as precious and the makers of art should be likewise protected, valued and sustained. If we don’t then the dark future may come very quickly when art disappears.

Happy creating...

Michal Plis

References

Creative Australia: Major report shows economic conditions for artists at odds with the value we place on the arts

Creative Australia publication: Artists as Workers: An economic study of professional artists in Australia (PDF Copy here)

Artists as workers: A summary and response by Creative Australia (PDF)

History of visual artists giving credit when collaborating

Throughout history, visual artists have recognized the importance of giving due credit when collaborating with their peers. From the Renaissance to the contemporary art scene, collaboration has been a cornerstone of artistic practice.

During the Renaissance period, renowned artists such as Leonardo da Vinci and Michelangelo often worked alongside apprentices and assistants, acknowledging their contributions in the final artwork. Similarly, movements like Dadaism and Surrealism embraced collective creation, with artists attributing authorship to the group rather than individual names.

In the modern era, collaborations between artists have become more prevalent, with joint exhibitions and projects showcasing the diverse talents of each participant. Whether through formal agreements or informal acknowledgments, visual artists have long understood the value of recognizing the contributions of their collaborators, ensuring that the creative process remains transparent and inclusive. But in the 21st century due to me-ism and social media there has been a trend to fail to recognize contributors of an artwork such as the new generative AI which often does 99% of the work.

A case for giving credit to the “AI Artist”

In the ever-evolving landscape of art creation, technology continues to push boundaries, blurring the lines between traditional and digital mediums. One such groundbreaking innovation is Generative Artificial Intelligence (AI) art, a realm where machines collaborate with human artists to produce mesmerizing visual masterpieces. However, as this form of art gains prominence, a crucial aspect often overlooked is the recognition and credit due to the AI algorithms and the companies behind them.

Shouldn’t we do the same for the visual artist called generative AI art generator? It’s a digital artist created by engineers and programmers to become an AI artist. Which not only has stolen millions of images and footage of other artists but the artists that use those tools often fail to co-credit the art by the AI. Lets see the morality of this practice and whether it should change.

The Collaborative Nature of Generative AI Art

Generative Al art represents a fusion of human creativity and machine intelligence. Just as a customer approaches a visual artist with verbal instructions, so does an Al receive input from its human counterparts, albeit in the form of code or parameters.

Through this collaborative process, the Al interprets and executes the artist’s vision, generating stunning images or videos that captivate the imagination.

Acknowledging the Role of Generative AI Platforms in Art

Much like commissioning a piece from a human artist, utilizing a generative AI art platform involves leveraging the capabilities of a specific technology.

Just as an artist’s tools are integral to the creation process, so too are the algorithms and frameworks provided by AI platforms. Therefore, it is imperative to give credit where it’s due – to the companies that develop these innovative tools and enable artists to explore new frontiers of creativity.

Addressing the Issue of Credit Appropriation

Unfortunately, the lack of crediting AI platforms and companies in generative AI art creation is a growing concern. Human artists sometimes receive sole recognition for works generated in collaboration with AI, inadvertently overshadowing the technological contributions.

This oversight not only undermines the efforts of AI developers but also perpetuates a narrative of human superiority in the creative process.

The other aspect that that is raging in the art community is the legal aspects of the use of AI art generators and where the data was scraped from. It’s almost similar to when Napster facilitated illegal download of music. Later the music industry struck a deal with technology companies and Apple paved the way to music streaming with iTunes.

What will be the middle ground for AI art generators and how strict will the law courts be in what the future holds for AI art generators? Will they be dismantled or upgraded to remove all copyrighted scraped data from other artists? Time will tell.

We also have to resolve the issue of AI art generators creating usually most of an artwork but getting zero credit. Firstly, it becomes an artwork that is not technically legally owned by the person who prompted to make it. Secondly there is a trend to “pretend” by the human artist that they created the artwork and yet they haven’t. They simply have prompted the AI generator to create something with words.

Advocating for Ethical Recognition

To rectify this issue, in my opinion, it’s essential for the art community to adopt ethical practices that acknowledge the collaborative nature of generative AI art.

Artists should proactively credit the AI platforms and companies involved in the creation process, just as they would acknowledge any other collaborator or tool used in their artwork. By doing so, we honor the symbiotic relationship between human ingenuity and technological advancement.

When AI is used just in the ideas gathering process but not in arts creation in medium artist could mention AI was used in ideas building. But when AI creates the artwork or a part of it the artist should co-credit the AI. Its ethical.

Embracing Innovation and Collaboration

Rather than viewing generative AI as a threat to traditional artistry, we should embrace it as a catalyst for innovation and collaboration.

By recognizing the pivotal role played by AI platforms and companies, we uphold the principles of fairness and transparency in the art world. Moreover, by celebrating the marriage of human creativity and machine intelligence, we open doors to new realms of artistic expression and exploration.

But we must do this responsibly. And we shouldn’t go down the path of no co-crediting AI and scraping artworks from other artists and generating artworks through those AI generators. AI art generators should be reprogrammed to not scrape other artists work but create totally novel and unique artworks and content for artists to mix and create. I just think it will create a more healthy art community.

Conclusion

In the dynamic landscape of art creation, generative AI represents a groundbreaking frontier where human ingenuity converges with technological prowess and will continue to expand as AI and Robotics start to become more advanced. Imagine artworks created purely by robots and AI, but prompted by a human artist. Will that artist continue to credit themselves rather than co-credit the robot(s) and the AI involved?

There’s even emerging AI based 3D sculpting robots and machines being made and designed which will put pressure in traditional sculpting. So the same issue of co-crediting the robot AI sculptor in any sculpture or installation still rings true.

To foster a culture of inclusivity, honesty and collaboration, it’s important I believe to give credit where it’s due – to the AI platforms and companies that enable artists to push the boundaries of creativity such as co-artist credit to AI when its used in artworks creation or mention AI in the medium or description of if its just used in ideas gathering.

By embracing innovation and ethical recognition, we pave the way for a future where art knows no bounds with AI as a responsibly used tool for making art. I strongly feel this will strike a balanced approach legally and ethically in the future with AI beside us. ❤️

Regards

Michal Plis

Written by Michal Plis but Co-Edited by Michal, OpenAI ChatGPT and Google Gemini.

The landscape of the art world is evolving, and with it comes the emergence of the hyper “pay to play” galleries, sparking debates about the ethical implications of this practice which makes it difficult for emerging artists to afford galleries.

These galleries require artists to pay substantial upfront hire fees for exhibition opportunities in addition to often 50% commission in all sales. This practice raises questions about fairness, transparency, and exploitation within the industry.

As we all know, galleries are “gatekeepers” of success in art for any visual artist, regardless of what the new models are such as online selling and marketing. Research still shows that galleries, especially the right ones are the gatekeepers of a visual artists success in the business. But are emerging artists being pushed out because of the rising costs?

History of Pay to Play Gallery Model

The pay-to-play gallery model, where artists pay a fee to exhibit their work, is not a recent phenomenon. It has been around for quite some time, but its prevalence has fluctuated over the years. Here are a few key points about its history:

- Early History: The concept of artists paying to exhibit can be traced back to the 19th century when artists would rent spaces to display their works independently.

- 20th Century: In the mid-20th century, particularly in the 1960s and 1970s, the pay-to-play model became more structured, with galleries explicitly charging fees for exhibitions.

- Recent Trends: In recent years, with the rise of art fairs and online platforms, the pay-to-play model has become more prominent in physical galleries. This trend is perhaps an early indicator of a death knell for physical galleries competing against the online platforms. Online platforms offer artists more opportunities to showcase their work. When physical galleries raise prices for artists to exhibit it raises concerns about accessibility and equity in the art world. Of course the cost of living and increasing rent prices mean galleries may be struggling - the problem will be as cost of living keeps getting worse artists themselves may not be able to afford gallery space to hold solo exhibitions and will most likely find alternative solutions to exposure and sales.

Overall, while the pay-to-play model has long standing roots, its application and impact have evolved over time. But of recent times prices for art gallery exhibition space has gone considerably up and the effectiveness of galleries in bringing more customers and eyes to see the artworks have diminished. Here is my perspective as an artist:

Emerging artists perspective

As an emerging artist in the highest cost of living crisis known to man...I keep asking myself the question: is “Pay to Play” exhibition gallery business model fair?

I recently approached a gallery in Melbourne that offsets their expenses by running a cafe full time. But they still apply the pay to play model of approximately $3500 AUD for me to exhibit for a few weeks plus most likely 50% commission and other fees. This of course could be partly to do with expensive rent but is that all that it is?

According to my Bavarian Art teacher I think galleries used to be just commission based - no Pay to Play hire fees upfront - results based model. She said its still like that for some galleries in Germany. So I kind off feel ripped off by Australian galleries and robbed of the opportunities as an emerging artist on a shoestring budget and virtually no sales.

I think not just here in Australia but elsewhere in the world art galleries have just gotten used to the “Pay to Play” model with hire fees as a means of income but they often output very little advertising in return for those high fees and aren’t often open. And when talking to that small gallery with that café: The gallery manager said exactly that, that this helps to smooth out their profit margin.

Perhaps that needs to change in the future and perhaps governments need to support galleries so that in turn they support artists to get started by giving them affordable access to more eyes - in the gallery. At least they are diversifying by running a café as well. Perhaps some galleries will get the right mix of ideas to stop charging hire fees for artists to grow and etc?

In the meantime, I think I’ll just arrange to exhibit my pieces in local cafes and restaurants and sell my works this way as well as attempt to do it online and any other means I can scrounge. It will enhance a café or restaurant in my opinion and it will get them a commission for the sale which I can negotiate on. And its great exposure for me.

Although you need to be careful which café or restaurant you exhibit because of the subject matter and the audience you want to showcase your pieces with.

Empowering or Exploitative?

While some argue that “pay to play” galleries provide a stepping stone for emerging artists to gain exposure, others view this practice as exploitative, particularly towards those navigating the early stages of their careers.

The pressure to fill empty CVs (Curriculum Vitae) and the allure of perceived opportunities can lead artists to overlook the financial burden and ethical concerns associated with these arrangements. I think it’s not fair on the artist especially emerging artists. I worry about it and have to say no to expensive gallery hire fees to put food on the table and pay for rent using other sources of income.

Financial Realities

The financial demands imposed by “pay to play” galleries vary widely, with artists being asked to pay hundreds, if not thousands, of pounds or dollars or euros upfront for exhibition slots plus commission fees and other charges and they often do very little marketing etc.

Despite justifications for these fees, such as covering exhibition setup and promotion costs, artists often bear additional expenses, including commissions on sales and shipping fees and get very little exposure, eyes and sales.

Navigating Gray Areas

Concerns about transparency and misleading practices are prevalent, with some galleries failing to fulfill promises of adequate promotion and audience engagement.

Artists may find themselves shouldering the responsibility of marketing their own shows and facing uncertainties regarding sales prospects.

The Impact on Artists

Winning awards or competitions, once celebrated achievements, can now come with substantial financial burdens, including fabrication and transportation costs.

Artists may find themselves in precarious financial situations, with limited returns on their investments and increased pressure to cover expenses associated with exhibitions and accolades.

I’ve noticed another trend that is drawing young men away from making art in many countries is the fact that because of the high costs of exhibiting and access of a male artists to opportunities means they don’t end up pursuing that as a career in order to be able to support themselves and their families. I’m not dismissing the issues that female artists are experience but as a ln emerging male artist I’m focusing in this article on the issues I’m seeing in my own view as a male artist. But there are many problems that female artists also have.

And in the modern world, it’s sometimes both spouses that end up not getting into art as a means of living because of the prohibitive costs of exhibiting. Is it even worth being an artist these days? Some fortune ones succeed but most fail eventually. I think its partly because of high gallery costs.

A Growing Trend

As galleries and art businesses seek alternative revenue streams, the prevalence of charging artists to exhibit continues to rise and not everyone has access to wealthy benefactors like Leonardo da Vinci had. I personally wish I had some wealthy supporters who will support my art making and support my artworks. I can only hope.

While these arrangements may mitigate risks for galleries, artists bear the brunt of financial investments without guarantees of returns, perpetuating a cycle of uncertainty and financial strain.

Conclusion

The rise of “pay to play” galleries underscores broader issues within the art world, including economic challenges, power dynamics, and ethical considerations.

As artists navigate these complexities, it is essential to prioritize fairness, transparency, and mutual benefit within exhibition practices, ensuring that opportunities for exposure and recognition are accessible to all without exploitation or undue financial burden.

Fair commission and entry fees for gallery for artists don’t really exist anymore. Usually the commission is too high and the entry fees too high indicating that some galleries are using that as a means of profit rather than working with the artist to sell the artworks as the product.

In my opinion, I think that’s lazy and it’s destroying the art industry from within and it is denying emerging artists, many of whom are on a shoestring budget like myself the opportunity to grow.

I think mixed business models with other types of business services or products along with gallery space might be the way to cut higher fees and just stick to commissions. And yes fair commissions would be good - not 50% commission!

NAVA art association in Australia has developed a Gallery code of practice that the Australian federal government agency Creative Australia is trying to support. And aim of the NAVA in the future is to set up a full code of conduct system for galleries to be fair with pricing and not to discriminate against minorities and disabled individuals because that’s another problem that I’ve noticed is discrimination against people with a disability sometimes unintentionally.

I would not be surprised if every every country’s art association or government department has an established a code of practise for galleries and for the whole art industry in general. If they haven’t it might be good to do that. I also think that galleries don’t see any other way but to charge hire fees and high commissions to make ends meet.

And of course some of it is because of cost of living and property prices of gallery space. Perhaps government needs to come in and assist galleries to subsidise them so that artists can access it affordably. I think the ideal thing would be to have no more hire fees and a reasonable 25-40% commission with sales results.

But in the end this may just be wishful thinking - to be treated with fairness?

Until then, as an artist just find other ways to exhibit and perhaps if all artists stop going to galleries and paying hire fees and and hire commissions then perhaps all the galleries might one day rethink their business model and artists can all go back to them, sell art together and make friends. ❤️

References

The Art Newspaper: Pay to Play Galleries are on the rise but how ethical are they?

https://www.theartnewspaper.com/2022/10/26/pay-to-play-galleries-are-on-the-risebut-how-ethical-are-they

Australian NAVA Code fo practice -

https://code.visualarts.net.au/

Supportive Articles

The Quiet Achiever blog: Upholding fairness and integrity in a world of creativity:

https://medium.com/the-quiet-acheiver/upholding-fairness-and-integrity-in-a-world-of-creativity-7503c698eb92?sk=4c17d23901b58ec93adddebb6fe51a06

Non-Fungible Tokens (NFTs) have taken the art world by storm, offering artists a new way to monetize their digital creations. However, when it comes to selling fine art, caution is advised. In this article, we delve into the dangers of using NFTs to sell main artworks and explore why they might not be the ideal platform for this purpose.

Problem 1. The Dangers of Image Reuse

One of the significant drawbacks of using NFTs to sell main artworks is the potential for image reuse.

When an artist packages a high-resolution art image into an NFT encryption package and sells it on a marketplace, the buyer gains access to the original digital file.

This opens the door for unscrupulous individuals to misuse the image by repackaging it as NFTs on different NFT marketplaces repeatedly.

This results in the proliferation of unauthorized copies of the artwork, diluting its value and depriving the artist of the rightful recognition and compensation for their work.

Now we go to number 2 problem:

Problem 2. Illegal Prints and Copyright Infringement

In addition to image reuse, NFTs pose a serious risk of enabling illegal prints of the artwork.

Once a buyer possesses the high-resolution digital file extracted from the purchased NFT, they can easily reproduce the artwork in physical form without compensating the artist. There is tons of print on demand services.

These unauthorized prints not only erode the market for the original work but also infringe upon the artist’s copyright, leading to lost revenue and diminished artistic integrity. Some would argue that even unauthorised prints as long as they are signed promote the artist more. But the question is who profits from that? The artist or only the business?

Illegal prints breach most countries copyright laws automatically applied to artists work. Most non famous artists don’t have the resources to police the whole internet.

Limited Suitability for Main Artworks

Considering the dangers mentioned above, it becomes evident that NFTs are not the safest platform for selling main artworks.

Fine art is often unique, rare, and valuable, and it demands a secure and robust NFT ecosystem to protect its integrity.

NFTs, as they currently stand lack the necessary measures to prevent image misuse and copyright infringement adequately.

All NFT marketplaces would have to join together to create a joint illegal sale detection system capable of detecting artworks already on sale on another platform by verifying with seller. But the issue is complex and no clear direction exists. That is possibly possible with a universal global digital ID. But who will want a global ID?

As regards illegal prints, all the print on demand sites would also need to cooperate in verifying the real artist and detecting illegal reprints. That possible with a universal digital ID. But who will want to have a global ID?

The Potential Only Role of NFTs for Fine Artists at the moment

While NFTs might not be ideal for selling main artworks, they can still play a valuable role in supporting fine artists.

Secondary artworks such as digital or physical drawings, sketches, or supplementary materials related or not related to the main artwork can be safely sold via NFTs because the risk of losing the main bread and butter is a lot less. The same risks exist but you are less likely to lose your main source of income as it’s auxiliary artworks and so forth. Basically artworks that aren’t main bread and butter of a fine artist and can be sacrificed for auxiliary sales.

Additionally, limited edition digital collectibles or behind-the-scenes content can provide fans with exclusive access while protecting the core value of the primary original artworks and legal prints.

The Need for Technological Advancements and Collaborative Efforts

For NFTs to become a viable option for selling main fine artworks in digital form, the technology needs to evolve.

Improved encryption methods, watermarking techniques, and robust intellectual property protection mechanisms must be implemented to safeguard artists’ rights and the integrity of their creations. These implementations needs to be universally embraced across print on demand services as well as offline file manipulation as well as all the NFT marketplaces.

It almost dictates the need to have embedded detection mechanisms similar to banknotes detection mechanisms to prove their authenticity. Similar ideas needs to be implemented to advance NFT marketplaces to an advanced space.

Moreover, marketplaces must collaborate and enforce stringent guidelines to prevent the unauthorized reproduction of digital assets.

Printmaking platforms should also be proactive in preventing the creation and sale of illegal prints, ensuring artists receive fair compensation for their work.

Conclusion

In conclusion, NFTs offer an exciting opportunity for artists to explore new revenue streams and engage with their audience.

However, when it comes to selling main artworks, caution should be exercised due to the dangers of image reuse and illegal prints.

Until the technology matures and industry stakeholders unite to combat these issues, NFTs might not be the most suitable platform for fine artists. They are still suitable for mass produced repetitive digitally made artworks that have slide variations because they are sold in volume rather than the protection of their intellectual property. But I question whether such artworks are actually artworks if they are mass produced rather than scarce and authorized by the artist.

The Work of Art in the Age of its Reproducibility by Walter Benjamin is a great book, although a bit verbose and old school helps artists to grapple with originality versus reproduction. There’s a lot of merit in reproduction while still retaining the originality or essence of the original artwork and allowing an artist to make an extra income. Just like books or movies are reproduced. But in this case this is not the issue. The issue is illegal reproduction without permission.

And that has grappled every industry in the creative space, such as for example, illegal movies sold or given on the online markets. The solution for that was streaming services both for music and for movies heading away now for books and audio books.

I wonder what solution they will have for visual artworks in the digital space to truly discourage illegal reproduction.

As the digital art landscape evolves, artists should weigh the benefits and risks carefully and adopt strategies that best protect their creative endeavours.

In my personal opinion, I will not be posting main artworks as NFTs anytime soon until the technology becomes more mature in its protections.

Regards

Michal Plis

#nft #art #michalplis

I hope you enjoy my first solo exhibition but with with 2 other artists. But I have my own section and I’m making a UV room with about 8 paintings with ultraviolet acrylic paints. This is the first time I’m exhibiting with an opportunity kindly provided by Neil Shurgold (Gallery Manager) at the Rubicon ARI Gallery in North Melbourne.

Every UV painting listed on my description / price list (copy provided to you by the gallery) will receive a complementary portable UV torch so you can enjoy the UV version of the painting at home and share the experience with friends - the making of hidden things visible.

Further details about the exhibition are provided below.

Regards,

Michal Plis

27/06/23

Melbourne, Australia

Hidden Becomes Visible Exhibition Details

Part of a Group Exhibition along with Heidi Weber & Nick Berry. Michal Plis explores the interplay between visible and invisible in Hidden Becomes Visible. Through fluorescent (UV) and acrylic artworks, hidden aspects within ourselves and the world are unveiled. Learn more!

Gallery Name: Rubicon ARI Gallery

Dates: 5 - 22 July 2022

Opening Night: Wednesday 5 July 2023 6-8pm - Cost: Free - Wine served

Normal Gallery Opening Times: Wed - Sat 12pm to 5pm

Address: Level 1/309 Queensberry St, Melbourne VIC 3000

(Entrance access via O-Connell St around the building, 1st floor up the staircase, front entrance is closed)

Travel by Car:

• Click on this link to open Google Maps or enter into your nav: Level 1/309 Queensberry St, Melbourne VIC 3000

• Park around the gallery in any of the side streets etc. Use EasyPark app (Android & iPhone) and enter the code on street sign. Not very expensive - few bucks for 2 hours.

Travel by Public Transport:

• Train & Walk: Get off at Melbourne Central Station. 9min walk from station along Elizabeth St then turn left into Queensberry St. PTV Journey planner link.

• Train / Tram / Shorter walk: Get off at Melbourne Central Station. Catch FREE Tram 57, 19 or 59 towards Central Park Ave direction & get off at the stop 7- Queen Victoria Market on Elizabeth St then walk across Victoria St then Elizabeth then Queensberry etc. PTV Journey planner link.

Exhibition Statement

Welcome to my exhibition, “Hidden Becomes Visible,” where I invite you to explore the interplay between the invisible and the visible. Just as overlooked things reveal their beauty under the right light, this collection uncovers the hidden aspects within ourselves and the world.

As a neurodiverse individual, I often feel unseen in a neurotypical world. Through this exhibition, I aim to challenge perceptions and showcase diverse perspectives. Using fluorescent and traditional acrylics, my pieces are visible in daylight, blue light, and ultra-violet blacklight, unveiling the hidden sides of nature, the universe, and ourselves.

Within these artworks, you’ll encounter abstract subjects like giant space flowers and visual representations of nature and emotions. They express the mix of emotions I experience daily, capturing movement that mirrors the universe’s continuous forward motion.

Join me on this artistic journey, where the visible merges with the invisible, and the extraordinary emerges from the ordinary.

When you enter the UV room you will notice the light will change from daylight to ultraviolet light to experience the transition.

Exhibition Highlights

5 July 2023 - Opening Night - Out of the 14 pieces (13 paintings and 1 sculpture) I sold 2 paintings (items numbered 4 and 8).

6 July 2023 - We sold sculpture item 1

As at 19 July 2023 well over 50 people have seen my exhorted artworks and the UV Room.

Private viewings were held a number of times including 14th & 21 of July 2023

6 major newspapers were send news tips about the exhibition and Michal but to date nobody has written about it.

A number of organisations including Image Science, OnSide and others have shared the exhibition with their viewers.

Media Gallery

The photos of the concept, setup and launch of the Hidden Becomes Visible exhibition. Months before the exhibition I imagined a solo exhibition and I didn’t know I will ever have one and within moths I got a message from a gallery that had an extra spot. I created a dark UV room with curtains and professional blacklight to illuminate the UV activated fluorescent paintings.

Press

Rubicon ARI Gallery archive page (once the exhibition ended it was archived)

Was listed on What’s On in Melbourne Website

LinkedIn post - Michal Plis

Twitter post - Michal Plis

Instagram exhibition posts:

• June 29, 2023 Announcement Reel

• July 4, 2023 Setup Post Reel

• July 5, 2023 Launch Day Reel Post 1

• July 6, 2023 - Launch Day Highlights Reel

• July 13, 2023 Pre Close Post Reel

• July 22, 2023 Walkthrough of the UV Room Reel

• July 23, 2023 Packup UV Room Reel

(Disclaimer: Blog post written with editorial help from generative Ai tools)

#exhibition #michalplis #artwork #art