The goal of this thesis was to decipher the main factors of today’s hyper-productive society, which effect the way in which an artist produces their art works. The theoretical part explores a selection of external factors, which artists must tackle if they wish to be accepted within the current, global world of art. Those factors are the titles of the chapters of the theoretical part of this thesis and go as follows: Hyper-capitalistic Forms of Production, Institutionalism (Academia and The Art Market), and New Media and Platforms for Self (Re)presentation. The conclusion which is drawn from the exploration of these factors is that although the art market is seemingly obsessed with the idea of authenticity and innovation, it is set up to breed exactly the opposite: the hyper-production of ideas and concepts, which confine artists to a standardised, as well as greatly homogenised and limited means of expression. In the final chapter titled Authenticity?, the subject of artistic innovation in the 21st century is explored more thoroughly. Within the practical part, titled The Production of Value and The Value of Production a series of prints named Wetprints is executed both via their commercial potential, as well as through a more conceptual interpretation. The series is created through the act of dripping, dipping, and exposing Inkjet prints to sea and rain, which creates a sort of water-colour effect, each image unique, and original, yet inescapably cliche because of its subjects- wilted bouquets. The last chapter discusses both commercial and conceptual processes in detail leading up to the final presentation of the project, So This Is It?, an exhibition which took place in October 2020 in the Fotopub Project Space.
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