Are We "Hitting the Nail Right on the Head"?

William Hanhausen

IS THIS THE DYSTOPIAN REALISM OF AN IGNORED GENRE OR AN IRREVERSIBLE SELF-INFLICTED DAMAGE...?

With a gender inclusive definition as “Latinos”, this genre is increasingly recognized in the highest spectrum of today’s art world. But their work of so many years of hard struggle, is not documented, seen, or considered as a valuable investment in the arts. How is this possible? I by the disregard of many success-have the theory that; --this genre is being challenged and victimized by the very successful American Latinos with massive capitals coming out of the shadows of the economical world and many artists that have engrained and distorted the genre and don reflected their story in their work. Rarely appealing the educated collectors’ core in an imaginary society where there is an unjustified shame.

This is this a sign that our country has become almost unrecognizable from what it was not long ago? Where all mi- nority’s works, and most specific Lati- no Art, was gaining without hesitation museum quality level recognition. We all know that to reach a museum quality level an art work doesn’t need to have a big price tag. But, collectors and galleries are dropping equality and only changing the curse because of a “political hue”. Disrupting their collections fundamen- tal bases, abruptly and following a path where elites have become incredibly good at “theater”.

Are collectors governed by money, fashion, embarrassment or fleeting trends?

“What does it mean to be yourself? It is what we show, or what others see?” Argentinian author and plastic-artist Gabriel Busquets, recently posted on his Instagram account, referring to his portrait and own work.

This sound to me like... "The dystopian future of a society bereft of reason"

A negative attitude towards artists’ work and the essential role of art to bear witness the social injustices and inequities of our time. Adding to the craze, challenges of identity experienced against intolerance and racism in the arts.

Auction houses, today’s leaders in art pricing, don’t want to consign Latino works because of lack of records. Disregarding genre quality and artists historical value. Art galleries rarely touches the subject of adding a Latino artist. Never the less, one by one are actively making it sure they are including and representing someone “politically correct”. Regards the quality of their work and consistently focusing together with collectors in a color discrimination. Disrespecting and ignoring all artists and genres.

Perhaps this remark is not of substance for the art world, but it is to the Latino artists and their “loyal” collectors. These collectors are no exception, they have placed the art world itself on trial. Is this genre supposed to change their ways and attitude, leave behind the culture and stop been themselves, to make a “buck” or become a worthy investment?

Collectors and artists afflicted are insistent, consistent and persistent in the fact that we are in the wrong place. Historically, this has been the classic representation of genre dysphoria, a social alteration. There is a long history of social contamination within these demographics in the arts. Today however, we don’t leave the politics aside. The truth is that there is no satisfying answer, given that art experts have no way to predict and perhaps there is “a chip on their shoulder”, spread ideas, emotions and behaviors based on peer influenced collectors that needs to be transformed.

Iconic works like...

“Beatificado” by John Valadez of 1974, Felt pen and spray on Stonehenge rag/pa- per 72” x 48”.