Editorial for Taxi as translator and part of the core at the moment
àEDITORIAL
José Ortega y Gasset reflects in his book The dehumanization of Art (1925) that the characteristic of the new art, from a sociological point of view, is that the public is divided into two classes of men: those who understand and those who don’t. Spanish philosopher says that new art is not for everyone – as the Romantic art – if not it is directed to a minority especially endowed. Today, many people have taken this premise to criticize the solvency of contemporary art. Is there anyone making art? Is it all a scam? Why do so many people don’t understand? What has caused that many new art move such sums of money? These are troubling questions that emerging artists have to face. How a piece of contemporary art is worth 12 million or 140 million dollars? Dan Thompson, an economist and an art expert, explains this in his book The $12 Million Stuffed Shark. Thompson says that art moves around the concept of brand, something that applies to the artist and all the actors involved in the transactions of artworks. So, the author determines that auction houses, like Christie's and Sotheby's, and the superstar dealers are the ones determining prices. And also hot artists and insecure collectors, who look for uncertain connotations of status, quality and unquestioned celebrity. Museums such as MoMA, Guggenheim and the Tate are also brands themselves. When one of these museum exhibits the work of an artist, they transmit it like a brand. Similar thing happen when a dealer bet on an artist – like Gagosian, Jay Joplin's or White Cube –. Art fairs also become great events by their own right. The contemporary art market is very complex and opaque, but really passionate. Taxi around the art leads you around the globe looking for the most outstanding art scene worldwide. Taxi travels a path where there are no borders or oceans, an unlimited way that exposes your eyes to contemporary art in its most authentic state. Established and emerging artists, gallery owners, curators, critics, museums and institutions, they all have a voice in a publication that presents itself as a vehicle of liberated passengers.
José Ortega y Gasset reflects in his book The dehumanization of Art (1925) that the characteristic of the new art, from a sociological point of view, is that the public is divided into two classes of men: those who understand and those who don’t. Spanish philosopher says that new art is not for everyone – as the Romantic art – if not it is directed to a minority especially endowed. Today, many people have taken this premise to criticize the solvency of contemporary art. Is there anyone making art? Is it all a scam? Why do so many people don’t understand? What has caused that many new art move such sums of money? These are troubling questions that emerging artists have to face. How a piece of contemporary art is worth 12 million or 140 million dollars? Dan Thompson, an economist and an art expert, explains this in his book The $12 Million Stuffed Shark. Thompson says that art moves around the concept of brand, something that applies to the artist and all the actors involved in the transactions of artworks. So, the author determines that auction houses, like Christie's and Sotheby's, and the superstar dealers are the ones determining prices. And also hot artists and insecure collectors, who look for uncertain connotations of status, quality and unquestioned celebrity. Museums such as MoMA, Guggenheim and the Tate are also brands themselves. When one of these museum exhibits the work of an artist, they transmit it like a brand. Similar thing happen when a dealer bet on an artist – like Gagosian, Jay Joplin's or White Cube –. Art fairs also become great events by their own right. The contemporary art market is very complex and opaque, but really passionate. Taxi around the art leads you around the globe looking for the most outstanding art scene worldwide. Taxi travels a path where there are no borders or oceans, an unlimited way that exposes your eyes to contemporary art in its most authentic state. Established and emerging artists, gallery owners, curators, critics, museums and institutions, they all have a voice in a publication that presents itself as a vehicle of liberated passengers.
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