When Art Becomes Commodified, Is It Still Art?

Brief Summary

The video explores the emotional and relational aspects of art, particularly in tattooing. The tattoo artist discusses how art fosters connections and interactions between the creator and the consumer, leading to friendships and shared experiences. The value placed on art often conflicts with the commercial aspect of the profession, leading to challenges in balancing financial gain with genuine emotional connections.

  • Art is alive and defined by both the creator and the consumer.
  • The tattooing process helps create a bond between the artist and the client, complicating the act of charging for the work.

The Nature of Art and Connection

Art is described as a living entity that thrives on awe and the appreciation of beauty, evolving in meaning depending on the perspectives of both artist and consumer. The tattoo artist shares their professional journey and how this vocation embodies a dynamic exchange of creativity, where monetary value does not dominate their thoughts. They express that while they appreciate earning money, the essence of art transcends financial transactions.

The Emotional Bond in Tattooing

The tattooing experience is characterised by the emotional bond formed between the artist and the client. Conversations during the tattooing process help ease the client's pain, allowing for a deeper connection that often results in friendship. This makes it challenging for the artist to assign a monetary value to the artwork, especially when they feel a strong connection with the client, further complicating the ethics of charging for such intimate art.

Challenges of Charging for Art

The artist reflects on the difficulties faced when determining when it is acceptable to charge for their work. They believe that when a significant connection exists, charging becomes contentious. However, if the client lacks appreciation for the art or the relationship is shallow, the artist finds it easier to set a price. This contrasts with the traditional model of art selling, where artworks are sold to wealthy individuals, often excluding genuine connections between artists and consumers.

The Artist's Perspective on Commercialisation

The artist questions the role of the artist in the commercial landscape where their work is treated as a commodity. They highlight the risk of detached relationships, where artists and their consumers do not engage on a personal level, reducing art to mere products without emotional connections. The artist explains that while they create beautiful work, they prefer to maintain a relational aspect of art rather than viewing it purely as a financial transaction.

The Importance of Connection

The artist expresses a desire for their clients and followers to see them as more than just a tattoo artist, but as a human being with a story. They want those who engage with their art to seek a personal connection, challenging the notion of art existing solely as a one-way street. This interaction is fundamental to their understanding of what art truly represents in their life and practice.

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Transcript

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0:09 I think that art is alive. It's like connection of awe and appreciation of beauty. I think you can find that in a lot of things. It changes, it grows, right? It's defined differently by whoever is consuming it and producing it. It's never really static and it has a relationship with both the maker and the consumer. If that isn't being alive, then I don't know what is. My current profession is that of a tattoo artist, right? And I think that profession inherently involves this exchange of art and art. Making a living off art has always been a little bit tricky because I actually don't really like charging people for the things that I tattoo. Of course, it's nice to have money. However, it's never on the top of my mind.

1:21 I think if art, specifically tattooing, is a relationship between the art and the consumer, then I think it's a good thing. The artist, the creation, and the consumer, then it becomes really difficult to not have emotion throughout all of that connection. I get to know somebody as I tattoo them. Talking usually takes their mind off the pain for most people. And by the end of it, I've made a friend. I've also shared this appreciation for this artwork with somebody else. At least I hope they appreciate it if they're going to get it tattooed on their body. That's an and it becomes really hard for me to put a dollar value on that. It becomes hard to charge a friend, right? Yeah. I think there are certain cases where it's like, maybe this client I didn't really get to know.

2:14 This client doesn’t seem to appreciate the art. That’s when I don’t feel as much of a problem. If they don’t feel that really strong connection that I sense from other clients, then I have less of a problem charging that money. But I think when art comes alive, like we said earlier, when it starts to make changes and brings people together, that's when I find it really difficult to actually charge money. Which is really backwards. Or at least backwards from how most people see artists making living, right? Like standard model is artist makes beautiful art. It connects with a lot of people and you charge a lot of money for it. But in that model, it only goes to one very wealthy person, right?

3:18 Where does the artist stand in that relationship, right? The artist made something really beautiful and then sold it for a high price. So, what would you say to somebody that really appreciated the art? Does the artist know the consumer? Does the consumer actually know the artist as a person outside of just an artist? In most cases, I think the answer is no. I think there's like a fetishization of the artist from a consumer's standpoint, right? You go to a restaurant, you don't think about how the chefs are. You think about how you consume the food, right? In those relationships, I think, like, it can be really devoid of empathy. It's really easy to then, for the artist to then just be like, well, I don't know who's going to end up buying it.

4:09 I just know that I make really good work. And I know that people are willing to pay this price. So, I don't feel as bad charging people for it. I don’t know where this painting is going to go. I don’t know where this photograph is going to go. I don’t know where this, like, lamp is going to go. But it’s going to go to somebody. And all I know is that I’m going to get paid. In that scenario, I think it’s really, like, that’s truly like art as a commodity, right? You’re just creating products at that point. At least my definition of art, it’s not really art because there’s no relationship. There’s no connection, right? It’s always sort of like a one-way street, right? In the scenario where it’s just a commodity, it’s very rarely ever going to reach out to the artist and be like, hey, like, how are you doing? Like, what are you actually like? How are you living? Who are you? I would hope that the people who have been tattooed by me or, like, see my Instagram profile or, like, know me, know that I'm more than just a tattoo artist. I'm, like, a human being as well. I would hope that they would want to get to know me as a human being when they come to me for my art.

5:28 I would hope that they would want to get to know me as a human being.

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