{"id":1458,"date":"2015-01-01T23:43:00","date_gmt":"2015-01-01T22:43:00","guid":{"rendered":"http:\/\/silta.es\/juantatay\/2015\/01\/01\/nuevo-arte-nuevos-artistas-nuevo-renacimiento-freelancers\/"},"modified":"2015-01-01T23:43:00","modified_gmt":"2015-01-01T22:43:00","slug":"nuevo-arte-nuevos-artistas-nuevo-renacimiento-freelancers","status":"publish","type":"post","link":"https:\/\/silta.es\/juantatay\/nuevo-arte-nuevos-artistas-nuevo-renacimiento-freelancers\/","title":{"rendered":"Nuevo arte, nuevos artistas, nuevo renacimiento & freelancers"},"content":{"rendered":"
Mi media naranja est\u00e1 en una etapa compleja\u2026 licenciada en Bellas Artes el pasado junio (2014), se abre  una etapa de definir qu\u00e9 quiere hacer; con incre\u00edbles capacidades para la venta (a lo que se ha dedicado profesionalmente muchos a\u00f1os), el arte, el dibujo, la pintura, la escultura, la venta, el 3D, la animaci\u00f3n, la edici\u00f3n de v\u00eddeo, la escritura\u2026 su problema (\u00bfnuestro?) es que no sabe \u00abcomo vender\u00bb esas bondades. Por supuesto mi apoyo y consejo no le es de utilidad \u00bfcu\u00e1ndo ha funcionado entre parejas la \u00abconsultor\u00eda\u00bb?<\/div>\n

A mi me ha dado por decirle que explote sus habilidades art\u00edsticas, sin duda ayuda que ella manifieste que disfruta mucho cuando pinta, pero en serio que aunque sea un mundo complejo (el de la comercializaci\u00f3n del arte) me parece que es algo que todav\u00eda no se puede digitalizar. Un lienzo siempre ser\u00e1 un lienzo. Una escultura siempre es una escultura. Es el \u00faltimo \u00abBasti\u00f3n\u00bb de la autenticidad.<\/p>\n

How to be good at everything: tips from renaissance freelancers – Freelancers Union<\/a><\/p>\n

\u2026freelancing is on the rise. Nearly 1 in 3 workers, to be \u2026 nearly ever field and every profession is going rogue. But with this new workforce comes an entirely new phenomenon: the renaissance freelancer.<\/p><\/blockquote>\n

\u2026but there\u2019s also a creative flow surrounding the renaissance freelancer. Are they born that way? Or is it just another case of \u201cnecessity is the mother of invention\u201d? Turns out, it\u2019s a little bit of both. <\/p><\/blockquote>\n

\u2026\u201cI\u2019ve kind of made all my \u2018not work things\u2019 into businesses now,\u201d\u2026 <\/p><\/blockquote>\n

\u2026Cole\u2019s personal blog<\/a> allows her to combine all passions at once, so you can see her not only looking fabulous in the vintage clothes from her shop, but also hear her music, get recipes for her vegan delicacies and see her photography skills\u2026 <\/p><\/blockquote>\n

Fueled by creativity and rarely afraid to try new things, the renaissance freelancer does seem to have just a little more of an energy about them than most people. And, not surprisingly, each of the freelancers interviewed seemed to have one more thing in common: a deep-rooted love of their downtime. One can only assume because they have so very little of it.<\/p><\/blockquote>\n

<\/p>\n

<\/a><\/div>\n
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The death of the artist \u2013 and the birth of the creative entrepreneur – Quartz<\/a><\/div>\n

Pronounce the word artist, to conjure up the image of a solitary genius. A sacred aura still attaches to the word, a sense of one in contact with the numinous. \u201cHe\u2019s an artist,\u201d we\u2019ll say in tones of reverence about an actor or musician or director. \u201cA true artist,\u201d we\u2019ll solemnly proclaim our favorite singer or photographer, meaning someone who appears to dwell upon a higher plane. \u2026 <\/p><\/blockquote>\n

Before we thought of artists as geniuses, we thought of them as artisans. The words, by no coincidence, are virtually the same. Art itself derives from a root that means to \u201cjoin\u201d or \u201cfit together\u201d\u2014that is, to make or craft\u2026 <\/p><\/blockquote>\n

Creativity was prized, but credibility and value derived, above all, from tradition. In a world still governed by a fairly rigid social structure, artists were grouped with the other artisans, somewhere in the middle or lower middle, below the merchants\u2026 <\/p><\/blockquote>\n

\u2026The age of revolution, it was also the age of secularization. As traditional belief became discredited, at least among the educated class, the arts emerged as the basis of a new creed, the place where people turned to put themselves in touch with higher truths.
Art rose to its zenith of spiritual prestige, and the artist rose along with it. The artisan became the genius: solitary, like a holy man; inspired, like a prophet; in touch with the unseen, his consciousness bulging into the future. <\/p><\/blockquote>\n

\u2026By the modernist moment \u2026 the artist stood at the pinnacle of status, too, a cultural aristocrat with whom the old aristocrats\u2014or at any rate the most advanced among them\u2014wanted nothing more than to associate. <\/p><\/blockquote>\n

\u2026After World War II in particular, and in America especially, art, like all religions as they age, became institutionalized. We were the new superpower; we wanted to be a cultural superpower as well. We founded museums, opera houses, ballet companies, all in unprecedented numbers: the so-called culture boom. Arts councils, funding bodies, educational programs, residencies, magazines, awards\u2014an entire bureaucratic apparatus.
As art was institutionalized, so, inevitably, was the artist. The genius became the professional. Now you didn\u2019t go off to Paris and hole up in a garret to produce your masterpiece, your Les Demoiselles d\u2019Avignon or Ulysses, and wait for the world to catch up with you. Like a doctor or lawyer, you went to graduate school\u2014MFA programs were also proliferating\u2014and then tried to find a position. \u2026 <\/p><\/blockquote>\n

Expertise\u2014or, in the mantra of the graduate programs, \u201ctechnique\u201d\u2014not inspiration or tradition, became the currency of aesthetic authority. The artist-as-genius could sometimes pretend that his work was tossed off in a sacred frenzy, but no self-respecting artist-as-professional could afford to do likewise. They had to be seen to be working, and working hard \u2026 <\/p><\/blockquote>\n

The artist\u2019s progress, in the postwar model, was also professional. You didn\u2019t burst from obscurity to celebrity with a single astonishing work. You slowly climbed the ranks. You accumulated credentials. You amassed a r\u00e9sum\u00e9. \u2026 It was safer than the solitary-genius thing, but it was also a lot less exciting, and it is no surprise that artists were much less apt to be regarded now as sages or priests, much more likely to be seen as just another set of knowledge workers. \u2026 <\/p><\/blockquote>\n

Artisan, genius, professional: underlying all these models is the market. In blunter terms, they\u2019re all about the way that you get paid. If the artisanal paradigm predates the emergence of modern capitalism\u2014the age of the artisan was the age of the patron, with the artist as, essentially, a sort of feudal dependent\u2014the paradigms of genius and professional were stages in the effort to adjust to it. <\/p><\/blockquote>\n

\u2026Against the values of the market, the artist, like other professionals, maintained a countervailing set of standards and ideals\u2014beauty, rigor, truth\u2014inherited from the previous paradigm. Institutions served to mediate the difference, to cushion artists, ideologically, economically, and psychologically, from the full force of the marketplace. <\/p><\/blockquote>\n

\u2026we have entered, unmistakably, a new transition, and it is marked by the final triumph of the market and its values, the removal of the last vestiges of protection and mediation. In the arts, as throughout the middle class, the professional is giving way to the entrepreneur, or, more precisely, the \u201centrepreneur\u201d: the \u201cself-employed\u201d (that sneaky oxymoron), the entrepreneurial self. <\/p><\/blockquote>\n

\u2026Now we\u2019re all supposed to be our own boss, our own business: our own agent; our own label; our own marketing, production, and accounting departments. Entrepreneurialism is being sold to us as an opportunity. It is, by and large, a necessity. Everybody understands by now that nobody can count on a job. <\/p><\/blockquote>\n

Still, it also is an opportunity. The push of institutional disintegration has coincided with the pull of new technology. The emerging culture of creative entrepreneurship predates the web\u2014its roots go back to the 1960s\u2014but the web has brought it an unprecedented salience. The Internet enables you to promote, sell, and deliver directly to the user, and to do so in ways that allow you to compete with corporations and institutions, which previously had a virtual monopoly on marketing and distribution. You can reach potential customers at a speed and on a scale that would have been unthinkable when pretty much the only means were word of mouth, the alternative press, and stapling handbills to telephone poles. <\/p><\/blockquote>\n

\u2026Creative entrepreneurship is spawning its own institutional structure\u2014online marketplaces, self-publishing platforms, nonprofit incubators, collaborative spaces\u2014but the fundamental relationship remains creator-to-customer, with creators handling or superintending every aspect of the transaction. <\/p><\/blockquote>\n

So what will all this mean for artists and for art? For training, for practice, for the shape of the artistic career, for the nature of the artistic community, for the way that artists see themselves and are seen by the public, for the standards by which art is judged and the terms by which it is defined? These are new questions, open questions, questions no one is equipped as yet to answer. But it\u2019s not too early to offer a few preliminary observations\u2026 <\/p><\/blockquote>\n

\u2026The truth is that the geniuses weren\u2019t really quite as solitary as advertised. They also often came together\u2014think of the Bloomsbury Group\u2014in situations of intense, sustained creative ferment. With the coterie or circle as a social form, from its conversations and incitements, came the movement as an intellectual product: impressionism, imagism, futurism. <\/p><\/blockquote>\n

But the network is a far more diffuse phenomenon, and the connections that it typically entails are far less robust. A few days here, a project there, a correspondence over e\u2011mail. A contact is not a collaborator.<\/p>\n

\u2026 You were a writer, or a painter, or a choreographer. It is hard to think of very many figures who achieved distinction in more than one genre\u2014fiction and poetry, say\u2014let alone in more than one art. \u2026 <\/p><\/blockquote>\n

But one of the most conspicuous things about today\u2019s young creators is their tendency to construct a multiplicity of artistic identities. You\u2019re a musician and a photographer and a poet; a storyteller and a dancer and a designer\u2014a multiplatform artist, in the term one sometimes sees. \u2026 <\/p><\/blockquote>\n

What we see in the new paradigm\u2014in both the artist\u2019s external relationships and her internal creative capacity\u2014is what we see throughout the culture: the displacement of depth by breadth. Is that a good thing or a bad thing? No doubt some of both, in a ratio that\u2019s yet to be revealed. What seems more clear is that the new paradigm is going to reshape the way that artists are trained. One recently established MFA program in Portland, Oregon, is conducted under the rubric of \u201capplied craft and design.\u201d Students, drawn from a range of disciplines, study entrepreneurship as well as creative practice. \u2026 <\/p><\/blockquote>\n

The new paradigm is also likely to alter the shape of the ensuing career. Just as everyone, we\u2019re told, will have five or six jobs, in five or six fields, during the course of their working life, so will the career of the multiplatform, entrepreneurial artist be more vagrant and less cumulative than under the previous models. No climactic masterwork of deep maturity, no King Lear or Faust, but rather many shifting interests and directions as the winds of market forces blow you here or there. <\/p><\/blockquote>\n

\u2026
It\u2019s hard to believe that the new arrangement will not favor work that\u2019s safer: more familiar, formulaic, user-friendly, eager to please\u2014more like entertainment, less like art. Artists will inevitably spend a lot more time looking over their shoulder, trying to figure out what the customer wants rather than what they themselves are seeking to say. The nature of aesthetic judgment will itself be reconfigured. \u2026 <\/p><\/blockquote>\n

Judgment rested with the patron, in the age of the artisan. In the age of the professional, it rested with the critic, a professionalized aesthete or intellectual. In the age of the genius, which was also the age of avant-gardes, of tremendous experimental energy across the arts, it largely rested with artists themselves. \u2026 <\/p><\/blockquote>\n

\u2026
\u201cProducerism,\u201d we can call this, by analogy with consumerism. What we\u2019re now persuaded to consume, most conspicuously, are the means to create. And the democratization of taste ensures that no one has the right (or inclination) to tell us when our work is bad. A universal grade inflation now obtains: we\u2019re all swapping A-minuses all the time, or, in the language of Facebook, \u201clikes.\u201d <\/p><\/blockquote>\n

\u2026we might also say that under producerism, in the age of creative entrepreneurship, producing becomes an experience, even the experience. It becomes a lifestyle, something that is packaged as an experience\u2014and an experience, what\u2019s more, after the contemporary fashion: networked, curated, publicized, fetishized, tweeted, catered, and anything but solitary, anything but private. <\/p><\/blockquote>\n

\u2026
Creator: I\u2019m not sure that artist even makes sense as a term anymore, and I wouldn\u2019t be surprised to see it giving way before the former, with its more generic meaning and its connection to that contemporary holy word, creative. \u2026 <\/p><\/blockquote>\n

When works of art become commodities and nothing else, when every endeavor becomes \u201ccreative\u201d and everybody \u201ca creative,\u201d then art sinks back to craft and artists back to artisans\u2026 So \u201cart\u201d itself may disappear: art as Art, that old high thing. \u2026<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

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