The Art World

The art world is composed of all the people involved in the production, commission, preservation, promotion, criticism, and sale of art. Howard S. Becker describes it as "the network of people whose cooperative activity, organized via their joint knowledge of conventional means of doing things, produce(s) the kind of art works that art world is noted for" (Becker, 1982). Sarah Thornton describes it as "a loose network of overlapping subcultures held together by a belief in art. They span the globe but cluster in art capitals like New York, London, Los Angeles, and Berlin."[1]

The notion of the singular art world is problematic, since Becker [2] and others have shown, art worlds are multiplicities, they are globally scattered, constantly in flux, and typically operating independently of each other: there really is no center to the art world any more. In her analysis of the "Net Art World" (referring to network-aided art or net art Amy Alexander states "net.art had a movement, at the very least it had coherence, and although it aimed to subvert the art world, eventually its own sort of art world formed around it. It developed a culture, hype and mystique through lists and texts; it had a center, insiders, outsiders, even nodes. This is of course not a failure; this is unavoidable: groups form; even anarchism is an institution." [3] Art worlds can exist at the local and regional levels, as hidden or obscured subcultures, via primary and secondary art markets, through gallery circuits, around design movements, and more esoterically as shared or perceived experiences.

The one globalized, all-encompassing art world does exist---but it does so as a myth; more accurately, there are multiplicities of intersecting, overlapping, self-similar art worlds, each expressing different views of the world as they see it.

The Real Art World

What's going on in the real art world? Welcome to "In The Real Art World" and please excuse the pun. "In The Real Art World" alerts you to the best exhibitions of representational "realism" which are on at the moment anywhere in the world. Whether it be in a Museum or a commercial gallery, the main focus will be on contemporary art without ignoring the great art of the past. Although I appreciate good art in any form it takes, I noticed that there are a multitude of sites dedicated to what's happening now in contemporary art. But there is no site that specialises in letting you know where to see the best of representational "realism" that is either contemporary, or of the past.

In The Real Art World: What is the Michael peck story, how have you and your art arrived at this point?

Michael Peck:: I’ve always been making artworks since I was a kid. I grew up with pencils in my hand, I spray painted walls as a teenager and I discovered oil paint when I was eighteen. There never seemed to be an alternative to becoming an artist. When I completed my fine arts degree at Monash, I was picked up by Gallery 101 in Melbourne and people seemed to like what I did. Since then I’ve been lucky enough to travel a fair bit and produce commissioned work in London and New York. Along the way I got married and started a beautiful family. Now I’m exhibiting at Metro Gallery in Melbourne and soon will exhibit in Sydney at Dickerson. When I say it now it sounds like it’s been an easy journey, however, the truth is that it’s actually been very difficult.

In The Real Art World:The paintings in this latest exhibition are carefully constructed to create unease, a sense of foreboding. Imagery that is nostalgic, often of innocence overwhelmed, vulnerable and alone. How do you see the elements you use and what do you want to get across to the viewer?

Michael Peck:: Themes of isolation and displacement have continually reoccurred in my paintings over time. I am interested in issues regarding social and cultural change and the ways in which a constant state of flux leaves certain individuals on the fringe. I am not necessarily trying to convey a specific narrative to the viewer but rather provide imagery which will provoke a personal response. Ironically there is an abstract comfort in recognition of this shared isolation.