Happy New Year to everyone.
Thank you for your continued support this year.
The first article of 2019 exceeds 5,000 characters. This is suddenly a long-form entry. I apologize for asking you to spend your time so early in the new year. Please read it when you have a moment.
2018
A year passes quickly, and before we knew it, 2018 had gone by.
Our site “art on — art on” launched in October 2017, and 1 year and 2 months have now passed. Thanks to your support, visitor numbers have grown steadily, and we have reviewed as broad and comprehensive a range as possible within the author’s reach — from small gallery solo shows to large-scale museum exhibitions.
According to Bijutsu Techo, the exhibition with the highest attendance in 2018 was “Leandro Erlich: Seeing and Believing” at the Mori Art Museum (November 18, 2017 – April 1, 2018). The count reached an astonishing 614,411 visitors. That averages more than 4,500 visitors per day. An incredible number.
On the other hand, Japan is said to have as many as 200,000 art creators. To speak a little more seriously, in terms of art transaction value Japan ranks 44th in the world, with a share of just 0.4% — a number that speaks to the reality that demand from collectors is overwhelmingly small compared to the number of artists in our country.
The global art market is said to be worth roughly 8 trillion yen. If we do a rough calculation based on Japan’s GDP share of 5.5%, the domestic art market should be around 440 billion yen. However, in reality it is estimated to be between 100 and 200 billion yen (various estimates exist). Large exhibitions account for the greatest share, and the market for sales of young artists’ work is estimated to be very small. The income the 200,000 artists earn is only a drop in the bucket.
This site has been operated with the intention of communicating the joy of art from the collector’s side. Aiming, however modestly, to lift art up in line with the figures just mentioned, we have continued creating articles and running the site.
Within the limits of what permissions allow, we have posted as many photos as possible, visited even small solo shows by young artists to write articles about them, made the activities of many artists visible, and shared as many articles as we could. One of our missions is to convert articles into some form of access, and to reduce the mismatch between artists and collectors as much as possible.
Article Production
Among all the articles we’ve published so far, every time we hear that our articles have created opportunities for visits to galleries or increased interest in artists, we’ve felt pleased to continue writing. Words we hear from artists when acquiring works are also gratifying, but reactions and results tied to article-driven visits are honestly the most rewarding.
On the other hand, the effort of updating articles daily comes with considerable stress.
Our site places a certain emphasis on photography, using a DSLR camera whenever possible when we visit exhibitions. Rather than posting straight-out-of-camera shots, we edit them using retouching tools. In the early days after launch the photos were, admittedly, poor beyond excuse, but we now strive to adjust white balance, angle, saturation, contrast, exposure, and so on so that the uploaded photos come as close as possible to actual viewing conditions. This work takes a fair amount of time, and when we’re busy it inevitably gets neglected. As a result, there have been many articles where we just dropped photos in and called it done.
Since I have other work as well, there have been many periods when it was difficult to keep updating articles. Because of that, the feeling that we should perhaps reconsider our update frequency has grown stronger, and this year I intend to change direction somewhat. Some slightly unusual articles may appear. We are also considering new initiatives, which I’ll describe below.
Happy Moments
At year-end I ran a few “Best 10” features, but I’d like to write about a few points I couldn’t cover in article form.
First, I’d like to report on “Happy Moments of 2018.”
- A thank-you note from an artist arrived as a work of art.
- Encountering an excellent framer.
- Acquiring a rare work by a hugely popular artist.
- A young artist I’ve been supporting won an art prize.
- Getting a work in the highly competitive monkpicture release.
- Improving my writing environment.
I picked out six items, but the moment when a thank-you note arrived as an artwork from an artist was especially delightful.
I was astonished to find, on a postcard-sized surface, the motif of one of the works I own, rendered on a different support and with different materials. I rushed straight to my regular framer and commissioned a serious framing job.
Depending on the artist, there are cases where no thank-you note is sent even after you purchase a work. And this particular artist is extremely busy, handling numerous solo and group shows, which made it all the more touching to receive such a work as a gift.
My encounter with this artist began when I liked a work displayed in an alternative space and asked the staff, “Please let me have it!” — I’ve been connected with the artist ever since. I’ve continued to visit their subsequent solo and group exhibitions and support their work.
The ways one meets artists vary widely, and I think these various episodes are one of the joys of collecting. The artist is a popular one whose prices are rising, but I look forward to their exhibitions again this year.
Come to think of it, when I visited a certain artist’s solo show and the conversation turned to favorite artists, I happened to have an invitation ticket to an exhibition of an artist they liked, so I gave it to them. Then they drew a drawing on the spot. That was also a delight. It was such a lovely little work that I framed it immediately. The frame was on sale for 2,500 yen, but it matched the work beautifully. It’s now displayed in the entryway of our home, warmly greeting visitors.
My relationship with a framer was also a big event of 2018. I’ve been indebted to several framers over the years, but ever since I began working with my current one, I’ve stayed with them.
They are the finest partner — always accommodating my selfish requests with careful service, and possessing specialized knowledge and a wide range of technical skill. I also have non-work interactions and conversations with the staff, and they treat me very well. It’s nice that the shop is nearby, too. I look forward to working with them again this year.
There was also the good fortune of acquiring works by artists whose careers are skyrocketing.
I regret that I can’t write about it here, but conversely, this was an experience that brought home the complex commercial customs of the art industry — gathering various pieces of information, moving on foot, cultivating relationships with galleries, and so on. Precisely because I acquired a wonderful work, I strongly felt that commercial transactions should become more transparent. Sales that sell out at the start of an exhibition, or the closed and exclusive system of waiting lists — I believe going forward that more open market formation will be required. Unless the base broadens, will the future of the art industry ever brighten?
The fact that an artist I’ve been supporting won an art prize was as joyful an event as if it had happened to me. I happened to meet the artist at the awards exhibition and photographed them in their moment of glory, feeling like a parent rejoicing at their child’s growth. Their delighted expression was very memorable. What a wonderful hobby art collecting is, to be blessed with such moments!
Grabbing a work from the fiercely competitive Instagram release by @monkpicture as one of the first buyers was also a delight. Late at night after a dinner engagement, I casually opened my smartphone and happened to catch the post right at the moment it was uploaded.
When acquiring a work, people sometimes use the phrase “if it’s meant to be,” and this really was a case where the connection allowed me to receive the work. I think this is one example of how a lot of creativity can go into the flow between an artwork and its collector. Many kinds of ideas and initiatives are possible. I hope artists will try even more varied and surprising approaches.
Entering December, I purchased a desktop PC and a desk for article production, greatly improving my writing environment. Pushed along by the PayPay 20% cashback campaign that made headlines, I switched from my previous laptop to a desktop, and my efficiency has jumped significantly. With a large screen and a powerful CPU, everything runs smoothly.
This year I vow to write proper sentences. This article, too, is written in long form to declare that stance.
Points for Reflection
Conversely, points I should reflect on and things I regret are as follows.
- I couldn’t get the bookshelf I wanted to organize catalogs and art books.
- I couldn’t use my collection budget in a planned way.
- I kept postponing site renovations such as https conversion.
- The website logo remains incomplete.
I’ve been wanting a bookshelf that can accommodate both painting and sculptural works while also storing art books, but I still don’t have one. Since custom furniture is eye-wateringly expensive, I have no idea when I might get one. Custom furniture makers can build all sorts of things, so I plan to order something more accessible first. I hope I can eventually write an article about it.
A collection budget doesn’t really go according to plan. I often act on momentum or impulse, and unexpected expenses have piled up. Since the budget is limited, I want to spend it more calmly and with better planning.
https conversion is now unavoidable given the times, so when I have the time I want to move forward with the site renovation.
Actually, the reason our site is still marked “β version” is that I commissioned the logo from a certain artist. I plan to consider the site 100% complete when the logo is delivered, but it just isn’t finished coming yet… I first asked about a year ago, and we held the design meeting around the summer of 2018. Since the artist is busy, I’m waiting patiently.
Things I’d Like to Try
Beyond running the site, what I’d like to try in 2019 is as follows.
- Registered writer system
- Kindle book publishing
- Holding a collector’s exhibition
- Relationship building with other collectors (community building)
- Artist studio visit features
I’ve asked one collector I know in person to produce solo-show review articles for us. They will write freely and convey the joy of art from their own perspective. I’m very much looking forward to what kind of articles they will produce. I’d also like them to attend exhibition press previews and press conferences that I often can’t make it to. I’m looking forward to seeing how this lands. *If you’re interested, please contact us.
Reading Hayakaze’s book, I felt I need to move forward on the “Kindle book” idea that I’ve been leaving alone. Currently, I have one project in progress, but getting publication permission from the artists looks difficult, so my pen has stalled midway. Separately, I’ve found a theme where my strengths can shine, and I’ve now started writing that book. I’m not sure how this one will end up either…
A collector’s exhibition is a project I’d like to hold in various senses. Another door would open, and the ways to enjoy art would expand. As you can see, various meanings are involved, and I’d like to consider it if the chance arises.
- I want to contribute to promoting my favorite artists
- I want people other than myself to see the works
- I want to offer artists opportunities to sell their work
- I want to connect with readers and artists in real life
I also want to deepen connections with fellow collectors. This applies in real life, but if some kind of community could also form online, I think effective information exchange and distribution support might become possible. It would be ideal to become a place that supports “collectors,” who are overwhelmingly lacking in the Japanese art industry.
Connections with artists are growing, but I’ve always wanted to enter the site of art-making. The middle of production is a time of intense concentration, but if the timing is right, I’d like to compile a report article conveying the atmosphere of the studio.
Best Works
Speaking of which, let me note the works I saw last year that left the strongest impression.
The works I still think were truly wonderful are Miran Fukuda’s Water Lily Pond and Water Lily Pond — Morning, which I saw at the Monet exhibition. Both are enormous works. When I looked up at them at the Yokohama Museum of Art, I was simply overwhelmed.
Thinking that there will be many encounters with unseen works and exhibitions in 2019 as well, my heart dances. I hope there will be many meaningful encounters.
In Closing
This is my first entry of such length, but it flowed out surprisingly smoothly.
I recalled an episode with a radio director I’d met through work. It was something they said to an ordinary guest who was extremely nervous about appearing on a radio program.
“We’ll only ask about things you know, and you only need to talk about things you know. So there’s no need to be nervous — please enjoy yourself.”
Just like this article, the things I think about daily flow out smoothly. This year too, I hope to convey what I feel without embellishment, in properly written prose.
I hope 2019 also brings new encounters through art.
Since it is New Year’s Day, this entry was written with the feeling of wanting to produce something like the editorial that a newspaper runs at the start of the year.
I’d like to close by wishing that all of you readers who visit this site enjoy a rich and fruitful art-filled life.
