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The unstable economic and social environmental climate in
our world highlights a critical challenge facing art and
cultural organizations: promoting the entire industry to two
primary target audiences, the public and policy makers.
With the low awareness of the significance of the art and
cultural industry, organizations suffer from dwindling
engagement from the public and depleted support from
legislators.
To boost the economic development of the art and cultural
sectors, organisations need to collect scientific data for
verifying the value of art and culture and for developing
efficient messages to get across to both target audiences.
Unfortunately it is difficult for art and cultural organisations
to work collectively, because they are all struggling to
survive and their associations cannot afford extensive
research projects.
Persuasion is much easier if the message is compatible with
a person’s general disposition toward a subject.1 Therefore,
it is important to know about who consumers are.
The collection of information about artworks also aids in
defining the scope of the problem, it helps identify possible
communication strategies, provides information about the
target audience, finds what messages work best and how
they should be framed, determines the most credible
messengers, and identifies the factors that can help or
hinder the fight against low art consumerism in our economy. When consumer culture first came to rise, art was experiencing a
fact of abstract expressionism, so the various pieces of culture were
based in opposite schools of thought. In the fifties, however, Pop Art
was created and the art movement became entirely focused on the
living experiences of society, “erasing the boundaries between high
and low culture, fine art, and mass production. Thus making art
more accessible to citizens of all class and race.
More recently, globalization has allowed the consumerist movement
to become worldwide. Advertising and appropriation of consumerist
symbols are a regular in both economic and art culture. The artist
attitude has now became more critical, and is giving rise to “culture
jamming” in which artists mimic ads with critical messages instead
of promotion. Artists are beginning to utilize consumerism for
activism.
Dadaism art is the first to bring everyday objects into art, but is
blatantly critical of the merge of art and everyday culture. The most
famous example of this is when a toilet is displayed in an art
museum, people went wild when it was not art, it was garbage that
made the point that society could be misinformed and focused on
the wrong things. This has also in turn paved a way for free thought
and interpretation of art consumerism within our societal climate/
environment. Allowing both the maker (artist) are receiver
(consumer) to both question and make of the answer whatever
feeling or emotion the art evokes in them about the world we live in
today.
On the other hand, though, as these art pieces are now being vastly
shared and “consumed” constantly, through the internet, the art is
taking place in the consumerist habits of society. Despite this, the
messages are still critical so the balance is hardly there. However Is
it a playful celebration of the carefree consumerist lifestyle or is it
critically oriented towards it? Or is it both depending on the
interpretation and our way of perceiving it? Despite the endless
questions that arise there is always the common ground that doesn’t alter the latter for the maker. The more Art consumed on a consistent rate, the better the
sustainability and produce from the maker.
