The cognoscenti are a group of people who have have expert knowledge or understanding of a particular subject. In the art world, these are people with knowledge about art, culture, and taste. They are often gatekeepers, meaning they control what is shown to the public or, at the very least, how it is seen. But cognoscenti may also play an important role as influencers: their opinion can help artists become popular or lead to fame for museums or galleries. (I’ve already written about the cognoscenti’s role in information cascades.)
The word cognoscenti is derived from the Latin term cognoscens meaning “those who know”. It is by those standards that I exclude influencers from the broad cognoscenti classification—influencers are people who are strictly influential (usually on social media) but who do not necessarily possess expertise in a given domain. They are marketers more than arbiters of knowledge. (Read Wired Magazine’s explanation of influencers for more.) However, the cognoscenti may contain influencers within their ranks, if they have sufficient knowledge.
Cognoscenti of the art world include authoritative collectors, curators, art historians, and critics. They may have formal education in the arts or they may simply be interested and knowledgeable about them. But what all cognoscenti share is an understanding of the art world and its inner workings. This gives them power as gatekeepers to decide how artworks are seen by the public. In some cases it means they have power to exclude particular artworks from museums or galleries, as well. For example, a curator may decide that an artwork will be best appreciated on the floor instead of hanging from the wall, and a critic might write a review which persuades people to avoid a gallery space with certain works on display. Each exerts their own form of influence on the encounter with art, meaning each exert their own form of influence on the artist themselves.
In the modern era, power dynamics have increasingly become the focus of much discussion and debate (particularly in regards to race, gender, and class.) Cognoscenti power should not be exempt from this scrutiny, either. They are by no means the only gatekeepers of art and culture, but cognoscenti often hold more sway than others in certain circles or communities. The implications here can be negative when cognoscenti perpetuate particular harmful beliefs through their endorsement of artists who fit particular ideological requirements. (One example of this can be seen in the recent directorial appointment at Warsaw’s Zacheta National Gallery of Art. Critics fear the appointee may prove to be a “far-right” stooge.) But cognoscenti power can also be beneficial and lead to positive change. For example, a cognoscente can recognize an artist’s work as valuable and support that artist throughout the ups and downs of their career. Really, it’s a matter of cognoscenti having the knowledge and understanding to use their power ethically, which begs the question: do cognoscenti have a responsibility to do so?
Yes. Full stop.
So what to do with this knowledge? Artists should be cognizant of who the cognoscenti are and what they can do for (or to) them. It’s important to be aware of gatekeepers when submitting work and also to be familiar with the different types of power that they may wield. But it’s not about kissing up—it’s about understanding the field and the rules of the game before heading out to play.
Absolutely, cognoscenti should be accountable and there are ways artists and the public can hold them to account (for better or worse), but that is a topic we’ll have to explore at a different time. First and foremost, it’s important for artists to understand these dynamics so they can navigate the art world in a more productive way. That’s priority one. Survival today, transformation tomorrow.
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Nick Thornburg is a multidisciplinary artist and writer. Subscribe to his mailing list to keep up-to-date with upcoming features and other news.
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