Commerce and Collectives

It would appear that the force driving collectivisation is purely commercial, from both the artistic corner and the commercial/dealer one.

Artist collectives - of which London provides some quantity - appear to exist as reaction to the atomisation inevitable within anarchy and its individualisation of direction. Therefore the appearance of these will relate to that exegesis upon the atomisation of style which is the result of the demise of classicism.

Of course this death was a long process and can really be marked from the time of Buenarotti himself, and the discoveries in the Renaissance of lost roman pseudo classicism. One has to comment that that incipience of death or destruction immediately finds its seed planted within the circle of human affairs , as noticed by earliest Chinese philosphy. Thus Buenarotti flags the destruction we experience, whilst his un-related successor Bernini brings down the lasting guillotine of perfection from his mastery of a mechanical reproduction for the transposition into marble of pre-ordained modelling- the cornerstone of the dreaded 'salon' art.

The dealer collectives are the international Art Fairs, a recent and ever expanding phenomenon, which sees the axes of nationalism intersecting to support the paucity of content available to the commercialist dealer gallerists. These latter feed as groups now under the reefs of nationalistically inspired Ferias / Foires / Fairs. The non-commercial Biennales of yore presumably inspired this success.