Posted under Topical Issues
If you're new here, you may want to subscribe to my RSS feed. Thanks for visiting!
The shock of the new - ceramic art prices.
In the ceramic fraternity several exceptional artists exist but they lack the confidence to value their work in the context of the correct platform.
I admire and am genuinely fascinated by the originality of Robert Hodgin’s ceramics. The intensity of the work subverts the fact that it is actually painted by a mainstream fine artist onto a ceramic canvas. His clientele recognize and value this exhibition as ART because Hodgin’s exhibits these ceramic canvasses as art and nothing less, take it or leave it.
Mr Hodgins shows the confidence of a master, and as such prices his artwork on a ceramic canvass accordingly.
Robert Hodgin’s, is setting a new framework of reference regarding price for the ceramic art patron, and I will not be surprised that if he only exhibits sculptural work, that we shall see sales, with prices far in excess of R100 000 per small scale sculptural art work!
The Bell-Roberts Contemporary Gallery at Lourensford Wine Estate hosted The Ceramic Art Of Robert Hodgins and images of his artwork can be viewed here.
Artists and designers from outside the ceramic fraternity add more value to ceramics, with most of these embracing cross-disciplinary experiences. The ceramic community are their own biggest enemy, with many prominent ceramic artists selling work at ridiculously low prices, eroding the viability of ceramics as a singular source of income.
I maintain that the choice of selling platform has a direct relation to the viability of the ceramic artist’s creative output.
To be continued …
Retief van Wyk on 14 May 2008 at 11:59 am #
I appreciate the comment on Robert’s work and it is amazing to see how the simple plate has been elevated to high art status. The debate is now wheter ceramics as a whole will be elevated or is it the stature of Hodgins and ‘art’ market that has determined these prices. I believe it to be the latter but it is refreshing to see that the simple vessel or plate could be elevated to this realm. Also seen in the work of Hylton Nel, simple wobbly bowls go for rather high prices. The art work elevates them, I love them.
Ceramics has always been a versatile medium!
Retief van Wyk
Author: The Ceramic Art of Robert Hodgins
Gerrit Oosthuizen on 14 May 2008 at 3:27 pm #
I thank you for this post, and yes the stature of Hodgins is a most important point.
I am actually stating my firm believe that “talented” ceramic artists find it difficult or impossible to run their career as a viable business in a ceramic environment devoid of personal confidence. The correct ceramic platform will be participants selling for profit, a platform driven by dynamic changes,discarding traditional concepts, a platform where the artist make things happen, a platform where the viewer, agent and artist will be empowered!
Besides the stature of Hodgins, the framework of reference created by this high profile exhibition is invaluable considering that respected ceramic artists, operating in the mainstream “ceramic” market, erode all viability as far as making a respectful exsistance, by asking pathetic prices in galleries for work that could have demanded a much higher price!
The ceramic artists and associations are their own worst enemy.
Due to the lack in knowledge and skill, most galleries will not have the guts to sell, expose or market ceramic art on this format, not even at a fraction of Robert’s prices!
I do believe that besides Robert’s stature, he did and still is considering and managing the stage he created to share his considerable talent. These choices are the most important decisions any ceramic artist must learn to make.
Retief van Wyk on 14 May 2008 at 7:23 pm #
I think your Southern Art Ceramics is indeed the much needed platform for young ceramic artists. I will endevour to inform my students to subscribe and participate. The market does need new young fresh ideas, not derivitive but new.
Gerrit Oosthuizen on 15 May 2008 at 4:13 pm #
Yes, fresh ideas, but these come at a cost, and students must be made aware that, even as artist designers, that they are business entities in themselves, motivated for profit while doing something they are passionate about. Profit is and must be of primary concern, as this will afford you the opportunity to; withstand exploitation, market and brand oneself, invest in R&D ,etc…
Any good ceramic idea will come to nothing without realizing a substantial profit for the development of the next dynamic and original “fresh” idea!
The platform I would like to share, is based on this very simple and basic requirement of any successful business.
It is unfortunate that to many artists AND AMATEURS operate in this market with no regard to real costs involved, and for them I have no time.
This platform must open the mind and excite the viewer to a degree where the market will reevaluate the worth of claywork in our environment.
Artists and/or designers and/or ceramic artists themselves, creating new ceramic ideas, while sharing a platform with viable and sustainable business objectives as their primary goal, will go from strength to strength.
It would be interesting to know how many ceramic artists in South Africa are operating in a viable and sustainable ceramic art/design environment? But this is a post for another time!