Afro Futurism Visions

 For most fine art collecting institutions and art critics quality in art is standards based.  Skills, materials, and context matter. Form follows function. Effect follows concept. Bad art or poorly executed art is not good for Art. Simply being expressive and passionate is not enough.  

The relationship of Visual Art to commerce, cash, or monetized value are not always embraced on the same levels as making trendy social, cultural, or political visual statements. In the Art World the Dead still compete readily with the Living. Forgeries emerge in major showcases with certificates of authenticity to later be outed. Blocking the paths and ascent of current working creative folks. Curators are now the institutional stars or gatekeepers.  Artist were once major pop stars and vital cultural icons. Full of influence and wealth plus power. Who is one's favorite Art Star now?

Now less and less is the power and voice of The Visual Artist.

This is where so many folks with a little computer tech and drawing materials can produce what appears to be "art".  Institutionally it's a bit more of "my media than mass media". Pictures? Yes. Impressive images? Yes. Likable? Yes. Very trendy? Yes.  But will they survive the test of Time?  

Will they yield to incoming changes of standards?

Will the makers of these nouveau images be remembered in Art history or by major museums? How will they earn?  Likable is similar to opinions. Very subjective and personal. Usually, free! But greatness?  Genius? Real power? That usually meets the scrutiny of a proven established criterion. This is where Rhythmism came in in the early 1970s.  Then Afrofuturism in the early 1990s. Buttressed by the explosion of digital production software and social media.