AMATEUR AND PROFESIONALISM
When looking at this what comes to mind is the question of the approach of artist to the finishing quality and the space this work exists in. And if they have studied their subject in order to be classed as an artist. These are questions that run through my head.
If a piece of work is placed together in a frame or if a sculpture is put in an exhibition space, we see it as professional. More so, if it is a well-known space with status such Sotheby’s or Saatchi or some of the high street exhibition art spaces like Castle Art. Some of us may see the work in the space and be taken in by the status of the space in order that we respect the work. And although this may make the everyday person sound like they are dumb, reputation goes a long way when it comes to us seeing the work as respectable and professional. Then it goes with the saying ‘it’s not what you know it's who you know.’
Tracey Emins work is autobiographical looking at all aspects of life such sex, love, life, death, and relationships. When looking at her etching prints the style resembles something a child would do however, she has intentionally created work to look this way
There is a reason for her work to display such a childlike element of drawing.
The work of Banksy would have traditionally been in the street seen by few or been there for years, a piece of graffiti potentially perceived as amateur by the everyday man because it has been placed on any space. However, his work has this intention as he places his art in unknown surprising spaces. Another example of the shock tactic is the shredded painting that had people bidding for his work at auction and it then became shredded. I would say Banksy thinks he is a message giver, a performance artist playing with us the by putting us on the edge of our seats for a painted frame. He has people in uproar for doing the work on their property and others celebrating such an approach. He has the art world in his hands by intentionally placing it in these places. I think the intention for this is to stay connected to the heritage of street art being on the street, but also it takes the control out of the traditional art dealer’s hands.
We are drawn to a piece of work for many reasons as an observer be they professional or not. Taking ideas from other artists we know for being cred,able regardless of the spacing being traditionally thought as professional or not, we ourselves develop as artists. The expanding knowledge of art is developing further weaving between both traditional and non-traditional spaces
