In any era of creation and expression, artists have come to a crossroads of obscurity and renown. As theorists and observers have argued, artist are affected by chance just like those in other fields. The path to notoriety is not solely paved with the quality of one’s work but the ability to embed oneself in the social fabric, influencing perception and creating an indelible mark on the collective consciousness. Not everyone is successful at this and while self-promotion has always been a feature of different professions, including the arts, navigating the ins and outs of elevating work so it becomes part of the social fabric is difficult especially for those new to their fields. As we delve into the strategies that can elevate an artist from the chasms of anonymity to the pinnacles of recognition, we invoke a principle of persuasion and public sentiment sculpting based on the theories of Edward Bernays who wrote ‘Propaganda’.
The confluence of art and desire
First, consider the canvas not just as a medium of expression but as a vessel of the collective unconscious. The work should somehow resonate with the desires, fears, and aspirations of the era – this can include challenging and confrontational work. For instance, Salvador Dalí did not merely offer surreal landscapes but tapped into the subconscious anxieties and desires of his time, making his work an inescapable subject of discourse. Like Dalí, artists could consider weaving the threads of societal currents into their tapestries, compelling the public not just to observe but to feel, reflect, and engage. It doesn’t have to be transparent, it could be abstract, or cross into radical challenges to contemporary art such as the work of Cy Twombly – whose work continues to evoke a wide range of emotions from observers. What then is the hook that different artists have when it comes to their work? Does it transfer across historical periods or is it restricted to a particular era? The proliferation of works by Frida Kahlo including branding across consumer products is another case in point about how art can be transformed through consumption across different historical periods.
Engineering consent through spectacle
The spectacle is not merely a display but a strategy. Edward Bernays orchestrated the 1929 Easter Parade in New York, turning it into a stage for promoting women’s right to smoke, which was then a taboo. By aligning smoking with the feminist movement’s fight for freedom, cigarettes became ‘Torches of Freedom.’ As artists, creating events or moments that transcend the ordinary, that align your art with broader movements or sentiments, can captivate the public imagination. Whether it’s a provocative exhibition, a collaborative venture, or a public installation, the key is to engineer a moment that becomes a conduit for discussion, debate, and dissemination. It should be noted that some artists may take an ethical stance on collaborative ventures compared to others and this in itself can be a strategy since the consumers for arts are highly segmented across different elements including heritage groups, age, sexual orientation, socio-economic group and so forth.
The medium as the messenger
In the digital age, the mediums of communication have proliferated, offering an unprecedented canvas for artists to project their influence. Social media, when wielded with Bernaysian finesse, transforms from a tool of mere exhibition to a mechanism of engagement and persuasion. An artist’s presence must be curated to stimulate, intrigue, and provoke the audience, turning followers into advocates. Collaborations with influencers, strategic use of hashtags, and participation in trending conversations can align your work with the zeitgeist, making your art not just seen but felt and discussed.
Artistic alliances for amplification
Bernays believed in the power of third-party validation. Aligning with galleries, critics, and cultural institutions can act as a multiplier for your influence. These alliances lend credibility and can catapult your work into new spheres of visibility. Consider the partnership between Louis Cartier and aviator Alberto Santos-Dumont; it was not just a meeting of minds but a strategic alliance that positioned Cartier’s wristwatches as indispensable tools for modern living. Similarly, artists could seek out partnerships and collaborations that align with their vision and can amplify their voice.
Conclusion
The journey to notoriety is a strategic endeavour, one that requires artists to be not just creators but architects of perception. By engaging with the desires and discourses of society, creating spectacles that captivate, wisely navigating the digital realm, and forming strategic alliances, artists can transcend the boundaries of their studios, influencing not just the art world but the world at large.
In the spirit of Bernays, the artist must remember that visibility is not about the mere act of being seen but about becoming a symbol, a narrative, and a catalyst for emotion and thought – something that artists such as Andy Warhol appear to have understood. Influence, then, is an art form in its own right, requiring creativity, insight, and a deep understanding of the human psyche.
King Advisory 