It is the precariousness of these perceptions that will be investigated in this section. Biased perceptions of performance can either be swayed towards failure (based on negative cognitive biases and insecurity) or success (motivated by positive cognitive biases and narcissism). Similarly, our perceptions of our success have an equal likelihood of becoming skewed and disparate from reality, for various reasons. Perceptions of one’s own success and failure have traditionally relied on the same criteria which we use to determine the success and failure of others: critical acclaim, wealth, social comfort, etc. It is the latter perceptions, of how successful one views their own efforts, which will be explored in this follow-up piece. Lexier, however, focuses on the intrapersonal – perceptions of one’s own success. It is part of the system of art, and success for some artists can be hinged on that resulting interpretation.Īs we can see, Hancherow’s perception of success relies largely on interpersonal factors. Success in the contemporary visual art world requires an artwork to be visible or seen (or attempts to critique what is visible/invisible, e.g., Michael Asher among many others) it becomes open to interpretation from multiple publics, either positive or critical. His curator-collaborator at the time, Stephen Hancherow, held a more measurable perception of success centered on visibility: Lexier has managed to etch out a successful career that challenges the priorities of our capitalist model while still achieving critical success along its terms.
#Art of rally achievements how to#
I have to remind myself over and over again how lucky I am and how to appreciate the opportunities that I have been given, rather than lament the ones I have not.” This ideology is reminiscent of the lessons learned in childhood parallels cannot help but be drawn between Lexier’s approach to his practice and the schoolyard dictum: “you only lose if you don’t have fun.” When asked about his perceptions of success and failure, Lexier responded “like all things in life the important thing is to find the joy in the experiences that you do have … and by this I mean in the making of the work itself.
And this is true for even the most successful artists you can think of.” We always want more for ourselves, there is always a show that we think we should have been in, there is no end to the wanting. Reflecting on the idea of “successful artists,” he said to me in a 2017 interview “it’s safe to say that no artist is truly content with their situation. His practice is often referred to as “idea-driven art,” motivated by American Conceptualism of the 1960’s and carefully balancing intuition with calculation to produce successful work. Calculation dominates the practice of Toronto artist Micah Lexier, who seeks out opportunities to collaborate with curators and artists in bringing his concept-based projects to life.
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