||If we look at the history of painting of the 20th century, we realize that in the first half Paris is the capital of the modern age. The art-'scene' is aligned monocentrically. You are only an artist if you work in Paris, where the salon painting of the 19th century is replaced by new movements. The scandal is developing into one of the most effective means for the artist, to attract the attention of the art dealer, the curator, and ultimately the buyer to himself. "New", unrecognised image contents, questioning the established conception of art without entirely negating it, are ‚en vogue' at the beginning of the 20th century. The scandal is so to speak the confirmation for the buyer, that he is dealing with 'great art'. That won't change for an entire century, even if the mechanism of scandal is losing steam, due to the fact that more and more artists, even the ingenious are exploiting its mercantile power.
After the end of the Second World War until the end of the 70ies Paris is replaced by New York as the epicentre of the art world. New York is dethroned by London as the capital of the mono-centric art world. As of 2011 33% of the turnover for art is realized in China. Significant changes can be expected henceforth in this area. Maybe the art world will be more poly-centric than ever.
The art dogmatic answer to the question 'what makes a true artist' has hardly changed in the last hundred years. The quality features for modern painting in the so called 'first art market' are apparently left totally unaffected even by the slightest signs of development. The irrevocable criteria for 'good' art quasi carburize more than ever as well as the corresponding mechanisms. The mechanism of scandal may appear a little obsolete. The other criteria for the quality and commercialization of modern art are enduring nonetheless. A contemporary artist, planning to create 'correct' works fit for the first art market should show the following qualities:
- A curriculum vitae targeted merely to art, because this sets you apart from 95 percent of the other artists, which in turn represents a strong selling point.
- Create something new. Nothing has changed here since the overcoming of the salon painting. If new means scandalously new – never mind.
- Be authentic, in the sense of a recognition value – create your own style. This feature is also rather a truism than real wisdom. The recognition value makes the brand. The brand sells, because the buyer can boast of it: "hey folks, as you see, I can afford a real Picasso."
- Avoid decorative painting, in order not to be linked with handicraft. That would
| be disastrous marketing wise. Even the subject must be identified as art right away.
In 2007 Steffani Lucci (the author of the book: ‚Um die Ecke denken' – (‚lateral thinking' – translator's note) examined in her empiric thesis the requirements of the first art market and the mandatory criteria for modern art and establishes, that in the last hundred years the features that determine the quality of art (just to mention a few) continue to be valid. Stefan Heidenreich (‚Was verspricht die Kunst?' – (‚what does art promise?' - translator's note)) shows at the same time already in 1998 the quality features of modern painting lead to a determinism, a compelling result of the artists work, of what one has to paint as an ambitious artist. As a result he discovered, that the determinism, the compelling requirements profile of the artists work leads to a compelling result. The result is that the art only promises itself.
The German art scene has witnessed its demise through the war within the mono-centric view. Also the rest of Europe developed rather poly-centric art worlds with loose contacts between artists, who due to their urban fragmentation and not least because of lack of capital never were able to trigger trends at the European or the international art market. At the end of the seventies art theory foresaw the end of all painting-art for the linear appreciation of art. But painting-art wasn't dead. It kept on reinventing itself. Dogmatics followed and invented the 'new' cyclical instead of the linear appreciation of art. Neo Rauch was ascribed to the neosurrealists, Romero Britto to the neo-pop-art – so their art was "new" again.
This supposed rebirth of painting was a lesson, teaching us that dogmatics of painting at the first art market is strongly oriented to financial interests. The requirements of curriculum vitae, novelty, authenticity, rejection of the decorative aspect are intended as guarantee for stability of value and rarity. To give you the possibility to check the value of your investment exchange-like organisations were created. The artprice-agency determines the value of artists in the form of 'stock charts', to make it easier for institutional and private collectors, curators, museums etc., to issue an exceptionally valuable portfolio. But it was overlooked that in doing so the determinism was further aggravated, because the artist's work is now even more restricted by market pressures.
We find that after one hundred years of art dogmatics the qualitative demands on the artist's work are merely deterministic. Also the short-term expansion by the cyclic art
||appreciation gave the artists only a short breathing time. The 'quality characteristics of
modern art' do lead to the optimal adaptation to market strategy purposes, but they limitthe artist in his work. In the opinion of the antideterminists therefore the contents of art in the first art market impoverish on a broad scale.
For the first time at the beginning of the new century (2005) in London the question is raised, whether deterministic attributes of modern painting must be fundamentally reconsidered. In 2009 the Frankfurter Allgemeine Zeitung published a report about the Transition Gallery in London, and their new appreciation of art under the heading: 'we need more dilettantes'. In this case the scandal is not intended to create a better saleability. The scandal is the challenge of a centenarian doctrine. The scandal negates the first art market. The anti-deterministic artist is allowed to paint
With every peace of art, corresponding with the above mentioned characteristics, the artists turns against the dictate of the ruling dogmatics. He is pursuing art policy by intentionally ignoring the quality requirements of the first art market and thus he regains absolute artistic freedom.
- as a non-professional,
- the amateurish - by being unsellable at the first art market,
- He is also allowed to paint the new, but also the not-new,
- the authentical but also the non-recognizable, not authentical, by using totally different painting styles.
- And sometimes he's allowed to paint the intentionally decorative