The Growing Stockpile of Contemporary Art

Here is a recent take on a problem that was first identified in the early 70s, the steady increase in the stockpile of art objects and what to do with them.

We are weighed down by works of art!

"Their present-day number, which is practically infinite, already greatly
exceeds our capacity for assimilation. Regardless, new ones are created
everyday. How can we avoid contributing to this proliferation, without
relinquishing the possibility of producing effects on the real? How can we
progress without increasing?" Jean-Baptiste Farkas

1 685 740 works of art are produced per day in the world.
19.51 works of art are produced per second in the world.

These statistics are available online at

Statistics produced by Caroline Keppi.
E-mail : caroline.keppi[AT]

One thought on “The Growing Stockpile of Contemporary Art

  1. Emperors without Clothes

    Did it ever happen to you to be in a contemporary art exhibition and think: „I can paint that“, or „this installation looks like my garage“, or just „I don’t get it“.
    As I walk through modern art museums and exhibitions where paintings are painted upside down, where I can hardly find any harmony in the composition let alone a message or inspiration in the artwork, I am wondering whether I am the only one to feel this way.
    I remember walking through empty museum rooms blocked by a thin metal barrier, or wondering why the cleaning service had forgotten to remove the black spot on the floor just to discover later on that was the work of art.
    I am asking myself how decadent we have become, and how influenced we are in our taste and sensibility to make them depending on the comments of few art critics who celebrate such works as highest art form and expression.

    The most astonishing phenomenon to me is not that these works are exhibited and have achieved fame and a high commercial value, but that most of my fellow museums’ visitors are in awe in front of these works, and admire how a metal line between two walls in an empty room may mean anything beyond being a metal line. I remember watching with fascination how three elegant ladies obediently took off their Gucci shoes to wear a pair of dubious felt slippers to enter an installation made by a crushed wooden crate where inside a half living room was reproduced. As I was musing that probably a visit to IKEA would be more rewarding than admiring the crushed living room, I heard the “aaahs” and “oooohs” of the ladies inside the wooden crate.

    At this point I want to ask: is anyone ever going to say: “These Emperors have no clothes!” is ever an art critic going to state that she sees no clothes on these artists and that such installations, digitally reworked compositions, upside down paintings and sculptures are an imposition on museums, galleries’ visitors.
    I have the highest understanding for the cleaning service of a famous museum who disposed of a heap of metal and wood on the floor of the museum, and delivered it to the local discharge.

    When have the curators of such exhibitions stopped to consider that it is all about the emotions raised in the visitors, it is not about the “objects”, i.e. paintings or installations, it is about giving the sense of belonging to the visitors in order to create a sustainable fulfilling art experience which touches not only the eyes but also and mainly the hearts of the people.

    Dr. M.C. Remund is co-founder and partner of Kunstmuseum Gehrke-Remund in Baden Baden, Germany.
    The Kunstmuseum Gehrke-Remund is a privately owned art museum dedicated to Frida Kahlo showing 111 oil pantings of the Mexican artist (licensed replicas from: © Banco de México Diego Rivera & Frida Kahlo Museums Trust / VG Bild-Kunst, Bonn 2008. The exhibition has the most complete collection of Frida Kahlo oil paintings worldwide

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