Intimidation of Fine Art
Reframing art and reclaiming it from its preserve as an elite
Art is the expression of human creativity. It transcends age, gender, ethnicity, geographical location, and social position.
I have never encountered an individual who has expressed their dislike for art. What concerns me is that people are quick to react that they lack knowledge on the subject — in today’s terms, they are not ‘boujee’ enough to understand art. They tend to identify what they like but don’t value their own opinions and feelings. An intimidation of fine art has surfaced.
We should all appreciate art.
The fear of fine art is perpetuated throughout our schooling, beginning as early as pre-school, we are bombarded with conflicting messages on the relevance of fine art in our culture. Often art is presented as a ‘filler’ subject — not in the same league, for example, as science, maths, or history. By adulthood, fine art is perceived as a discipline that can only be appreciated and understood by someone possessing a substantial background in art history.
Many believe good art can only be determined by the judgements and decisions of art critics, dealers, curators, academics, or art administrators. Unfortunately, many people in the art world believe this myth, including artists! While it’s the job of these professionals to be the real tastemakers in the art market, enabling you to appreciate art better, your own opinion on art is just as valid.
When you first see a painting you probably have a solid idea whether you like it or not and that should be enough to express your opinion on it. You should trust your own opinions and feelings on fine art, as you do with music. The comparison in consumption between art and music is very telling. Art and music are both very subjective, there is something for everyone. However, art requires attention and visual focus, whereas music can be openly digested on the go, at any time, requiring minimal concentration. Music is more readily accessible and the cultural impact is tangible-yet perhaps fleeting at times-though this means that it evolves at a faster pace than art, which keeps the audience engaged.
Inquiring random people on preferences in music will produce immediate and confident responses. People are eager to tell you they like jazz, rock, or hip-hop; listing their favourite artists, albums, or memorable concerts. But opinions on fine art from these same people are often laced with hesitance and discomfort. It’s difficult for them to name their favourite painters, works of art, galleries, or resonate with fine art at a personal level — and can you really blame them? The art world is unjustly perceived to be assigned to the affluent middle-class white man; sipping the finest wine at your nearest art gallery opening.
This classism in the art world compounded by the public’s intimidation by fine art has developed a hierarchy comprised of intermediaries whom we have come to depend upon as sources of truth. If members of the public were self-confident about their preferences in art, the strength of the power structure could diffuse. For example, art dealers would be acknowledged as sales personnel, a title that reflects their real occupation versus the messiah-like image currently awarded. Arts-related professionals would be recognised as occupations that were created by artists, and not, as it often seems, the other way around!
So remember, yes, it is the job for all art professionals to explain art in terms people can relate to and understand. Nonetheless, if you see something you do or do not like, that should be all you need to know. Don’t let anybody tell you what you can or can not express in matters of fine art.
How can we make fine art more accessible?
In true D-I-Y generation style, we are taking the art world into our own hands, independently making progressive steps towards making art more accessible for our generation. Thanks to Twitter, young people of ethnic majority backgrounds are curating art exhibitions featuring work we can connect with, by artists we can relate to. Perhaps the most crucial shift in paradigm could derive from diversity in curators and researchers. If we find ethnic majorities in these areas, the vicious cycle of esoteric fine art culture could really begin to enfeeble.
Conversely, to level the playing field, I feel these safe spaces should only belong in the short term. Once these shared spaces for discriminated artists are established, the same criticism should span across for all. Diffusion of power is the overarching problem. Artists segregating themselves into pockets of racial, sexual, and ethnic identity is not beneficial in the long run. Everyone is vying for the same bone; no one wants to share it.
There is substantial scope for improvement at an everyday level. We need to work together to reserve the prestige shrouding art. I need you to understand the years that go into the mastering the craft; how difficult it is to create something that’s original and meaningful; as opposed to merely using your skill to post a futile creation on Instagram, for the thrill of instant gratification. This is where people are a little scared of art — not only is it taboo but people don’t know how to consume great work without being a scholar. So we must take it upon ourselves to engage with fine art and educate ourselves through any given avenue.
With that being said, if you are comfortable in your familiarity with art, I have come to believe that it is not elitist to express your dissatisfaction for a piece of artwork you feel may be lacking in depth or originality – we must be careful to express that opinion with decorum and constructive criticism. As with anything in life, the art world can not evolve if we are not here to consume and critique it.
If you stumble upon a piece of artwork you particularly enjoy, share it on social media (be sure to credit the artist). Express what drew you to the work, open the discussion up to your followers; introducing discourse such as this will attempt to dismantle the prestige surrounding art.
Public art spaces can also broaden our knowledge and understanding of art. Perhaps it is not the fine art itself we find intimidating, but the establishments in which they are presented to us. When was the last time you stepped into an art museum or gallery? Art museums can teach us the history of art; art galleries (where art is sold) lend us the current value of art in the market.
As for artists, it is our responsibility to push the boundaries. There needs to be a stronger art community; as a whole, as opposed to dotted clusters. Interact with your followers, show support to fellow artists. This is not a competition. Thus don’t fear that you are in this alone; there is room for every artist to succeed. There are various styles and mediums out there, interacting with other artists and sharing their work will not detract from your own work — a candle does not lose its flame by lighting another candle. If we work on building a stronger community, we can help brighten the spotlight on the craft.
Smartify and the Google Arts & Culture app can assist you in navigating the often intimidating art world:
