The Russian “United Art Rating” is an artist rating service of the Artist Trade Union of Russia and which uses the following scale for rating artists
(nationally and internationally) [source here]
- 1 – an artist of world fame, tested with time (for more than a century).
- 1A – a world famous artist.
- 1B – a high-class professional artist with remarkable organizational skills, who is popular and in demand.
- 2A – a high-class professional artist with a bright creative individuality.
- 2B – a high-class professional artist, recognized and in demand with the art-market and public.
- 3A – a professional artist with a recognizable individual style.
- 3B – a professional artist, recognized and asked for in the art market and by the public.
- 4A – an established professional artist with creative potential.
- 4B – an established professional artist, who is in demand in the art market.
- 5A – a formed professional artist with creative potential.
- 5B – a formed professional artist.
- 6A – a forming professional artist with creative potential.
- 6B – a forming professional artist.
- 7 – an amateur artist with perspective evaluation of specialists.
- 8 – an amateur artist.
- 9 – an artist-beginner.
- 10 – an artist-scholar.
I like the fact this scale enables me to distinguish between artists qua artists and artists that focus on the market. The categories also distinguish creative aspects (A) and one category higher than the same artist with a market focus or popularity (B). This helps distinguish between the pull of the market from the push of the artist.
What they don’t give away is how they assess creativity, innovation, but perhaps that is best left to them, but I would dearly love to look inside this assessment ‘black box’. I think the Artists Union would approve of my notion of magpies, and may even agree that there are vampire artists.
Now, how can we apply this to art education to ensure that the ‘vampire’ art schools are distinguished from truly inspirational educational environments. Then I’ll be even happier!
For those so inclined, it is known that there are historical chains of connection between Nobel laureates and innovative research work. Would it be possible to chain link the artists together (apart from the traditional approach to grouping artists in schools as such) to identify particularly productive chains of innovation and association.